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THE 
RD COLONNA COLLECTION 


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PART II 
AMERICAN ART GALLERIES 


LIBRARY 


-|M. KNOEDLER & CO. 


556-8 FIFTH AVE. 


NEW YORK 
te 


ON FREE VIEW 


FROM THURSDAY, MARCH FIFTH 
UNTIL DATE OF SALE, INCLUSIVE 


FROM 9.00 A.M. TO 6.00 P.M. 


VALUABLE ART OBJECTS 


COLLECTED BY 


MR. EDWARD COLONNA 


UNRESTRICTED PUBLIC SALE 


On THE AFTERNOONS OF MARCH OTH 
Pere tl TH, 12TH AND 13TH 
BEGINNING PROMPTLY AT 2.30 O’CLOCK 


AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


— 


af 


° «a * 


CATALOGUE 


OF 


JAPANESE PAINTINGS 


Pottery, Bronzes, Lacquers, Combs 
Sword Guards & Ornaments 


EUROPEAN FURNITURE, CERAMICS, METAL WORK 
OIL PAINTINGS, ENGRAVINGS, BOOKS, OLD 
MAPS, ORIENTAL ARMS, EMBROIDERIES 
RUGS, DRAPERIES, JEWELS, ETC. 


COLLECTED BY 


MR. EDWARD COLONNA 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


Peete VIERICAN’ ART GALLERIES 


ON THE DATES HEREIN STATED 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY 
OF THE AMERICAN ART ASSOCIATION, MANAGERS 
NEW YORK : 1908 


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CONDITIONS OF SALE 


1. The highest Bidder to be the Buyer, and if any dispute arise 
between two or more Bidders, the Lot so in dispute shall be im- 
mediately put up again and re-sold. 


2. The Auctioneer reserves the right to reject any bid which is 
merely a nominal or fractional advance, and therefore, in his 
judgment, likely to affect the Sale injuriously. 


3. The Purchasers to give their names and addresses, and to 
pay down a cash deposit, or the whole of the Purchase-money, if 
required, in default of which the Lot or Lots so purchased to be 
immediately put up again and re-sold. 


4. The Lots to be taken away at the Buyer’s Benen and Risk 
within twenty-four hours from the conclusion of the Sale, unless 
otherwise specified by the Auctioneer or Managers previous to or 
at the time of Sale, and the remainder of the Purchase-money 
to be absolutely paid, or otherwise settled for to the satisfaction 
of the Auctioneer, on or before delivery; in default of which the 
undersigned will not hold themselves responsible if the lots be 
lost, stolen, damaged, or arosed, but they will be left at the 
sole risk of the Purchaser. 


5. While the undersigned will not hold themselves responsible 
for the correctness of the description, genuineness, or authen- 
ticity of, or any fault or defect in, any Lot, and make no War- 
ranty whatever, they will, upon receiving previous to date of 
Sale trustworthy expert opinion in writing that any Painting 
or other Work of Art is not what it is represented to be, use 
every effort on their part to furnish proof to the contrary; fail- 
ing in which, the object or objects in question will be sold 
subject to the declaration of the aforesaid expert, he being . 
liable to the Owner or Owners thereof, for damage or injury 
occasioned thereby. 


6. To prevent inaccuracy in delivery, and inconvenience in the 
settlement of the Purchases, no Lot can, on any account, be re- 
moved during the Sale. 


7. Upon failure to comply with the above conditions, the money 
deposited in part payment shall be forfeited; all Lots uncleared 
within one day from conclusion of Sale (unless otherwise specified 
as above) shall be re-sold by public or private sale, without further 
notice, and the deficiency (if any) attending such re-sale shall be 
made good by the defaulter at this Sale, together with all charges 
attending the same. This Condition is without prejudice to the 
right of the Auctioneer to enforce the contract made at this Sale, 
without such re-sale, if he thinks fit. 


8. The undersigned are in no manner connected with the 
business of the cartage or packing and shipping of purchases, and 
although they will afford to purchasers every facility for em- 
ploying careful carriers and packers, they will not hold then- 
selves responsible for the acts and charges of the parties engaged 
for such services. 


Tue AMERICAN ART ASSOCIATION, Manacers. 
THOMAS E. KIRBY, Avctionerr. 


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PREFATORY NOTE 


The Colonna Collection is of particular interest to collectors and art lovers in 
general because of its excellence in quality and wide variety. 

Mr. Colonna, an artist of consummate taste and skill as a designer, is an Ameri- 
can, and the man who in 1889, while in Paris, created many works of applied art 
of individual character, not embodying any of the styles of past periods, nor using 
in furniture, for instance, any of the time-honored details which even the best of our 
designers seem to be compelled to repeat. 

These works, mostly executed by the late Mr. Bing—used as furniture, metal 
work, jewelry, silverware, porcelains, etc.—were sold as productions of modern 
French art to the museums of Paris, South Kensington, Hamburg, Darmstadt, Cre- 
feld, Buda-Pesth and Tokio. 

That Mr. Colonna has himself produced objects of art and ornaments that have 
been thought worthy of representing the best of a country of the artistic importance 
of France, in the various museums of the world, gives a unique interest to this 
collection he has formed, which is not only characteristic of the artists and periods 
to which each object belongs, but of a superior quality both as regards beauty 
of line, color, and supetior merit of design. 

Among the Japanese prints are an unusual number by Harunobu, whose work is 
getting so rare, Shigemasa, Kiyonaga, Utamaro, Yeishi, Toyokuni, Hokusai, well rep- 
resented by early impressions, the fine state of the prints throughout being especially 
remarkable. Japanese paintings, kakemonos, at best most perishable when rolled 
and unrolled, have been most tastefully framed in their original old brocades, and 
are thus protected from dust, etc. 

Among; the antiques is a remarkable specimen of Roman cameo glass, repre- 
senting a young Roman and Bacchante walking in a triumphal procession. Only 
three complete objects and about a dozen fragments of this glass are known to exist. 
This present example is part of a plate, the only one known to have a green ground, 
transparent, suggesting foliage when pierced by the sun’s rays. 

There is a Greek silver amphora, chased and engraved with nymphs bringing 
the armor of Achilles, Ca. 400 B.C. 

The Collection as a whole is an extensive one, embracing old Chinese and Japa- 
nese bronzes, porcelains, potteries, Japanese sword-guards, and ornaments by the 
great metal workers, lacquers, etc. A Persian dagger, with its incomparably curved 
Damascus blade, is of unusual beauty. 

There are a few interesting early studies by Delacroix, Daubigny, Rousseau, 
Decamps, a portrait of Rosa Bonheur by A. Vollon, old italian furniture and brass: 
work, and many interesting cabinet pieces too numerous to mention, all selected by 
this connoisseur and lover of the beautiful among the arts of all the world, who has 
himself created many things of intrinsic worth and beauty. 

CHARLOTTE EATON. 

February the fourth. 


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Ee  4—-Grass Be oni 
B: pind ‘Venetian, with handle. 


a ae : 5—SMALL Gass. 
With etched border. 


6—SMALL GLASs. 
Venetian. 


- 7 Grass Urn. 
ee With cover; Murano. 


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8—V ASE. 
Beaker shaped, decorated in colors, with a bust of 
young girl framed by foliage. Italian. 


Q—J ARDINIERE. 


Decorated in colors with coat-of-arms and conven- 
tional flowers. Italian. 


10o—Two OLp PLATES. 
Polychromatic delft. 


II—THREE OLp PLATES. * 
Italian and Chinese; blue and white. 


12—Two O.up PLATES. 


One with head of Cupid and one with floral orna- 
ments in yellow on a green ground. Fayenza. 


13—Two Op PLatEs. 


Green, blue and yellow scroll on white ground. 
Italian. | 


14—EWER. 


Old, undecorated porcelain. Italian. 


15—PorcEeLAIn Muce. 


Decorated in gold and colors with landscape and 
figures. Chinese. 


16—Two VASES. 


Decorated in colors with coat-of-arms and inscrip- 
tion. Italian. 


17—T wo VASES. 


Small beaker shapes, with coat-of-arms and inscrip- 
tion. Italian. 


-18—Two VasEs. 


Beaker shaped, with Saint and coat-of-arms in col- 
ors. Italian. 


I19—OLD JuG. 


Landscape in blue on white. Italian. 


20—PAIR OF JARS. 


Blue on blue, with spouts and handles. Decorated 
with inscription and foliage. Italian. 


21—URBINO JAR. 


Oviform, decorated in colors, with medallion con- 
taining Saint and scroll ornaments. 


22—OLp Jue. 


Oviform, with spout and handle. Decorated in blue 
on blue with foliage, scroll, inscription and shield. 
Fayenza. 


23—OLp BEAKER. 


Similar decoration as preceding number. 


24—OLD JuG. 
Oviform, with spout and handle. Decorated in 
colors with wreath, shield and inscription. Caffa- 
giolo. Dated, 1571. 


25—Pair OF JARDINIERES. 


Decorated in colors with a panel containmg a land- 
scape and figure. Dated, 1741. 


26—MANDOLIN. 


An Italian instrument of the seventeenth century. 
ch 


Ap or CANDLESTICKS. . 
Brass. Renaissance design. Old Italian, " 
Tae 

28—CANDLESTICK. ed 
Similar to preceding number. 


29—Pair OF CANDLESTICKS. 
Old Italian shapes, for small candles. 


SOP MR OF GLASS CARAFES. 


31—GLAss CARAFE. 


Bohemian work, with two etched and sae 1 
medallions, set in the sides. Rare Bey. eS of the 
seventeenth century. wie vn 


32—SetT oF Two Bottles AND Four GLASSES. == | 
With coat-of-arms of Cardinal Panciatichi. From a a 
the Panciatichi sale. . | oO 


33—PorCELAIN FIGURE. 


Venus seated on a dolphin, Nymipbeabeee porce-_ Si) 
lain of the eighteenth centunyy Decorated in gold — ot, 
and colors. am “ae 


34—CLOocK. 


Old brass movement with sitveead face. Strikes the 
quarter hours. ewe 


35—CLOCK. 
Similar to preceding one. Smaller. 


36—Brass CLock. 


Enclosed in an engraved case. The earliest applica- 
tion of the alarm. Eighteenth century. 


TS a oe 


37—SNUFFERS. 
Wrought iron. Sixteenth century work. Rare 
specimen. 


38—SNUFFERS. 
Solid silver; graceful shape. 


39—PEWTER Mue. — 
With name and date. 


40—OLpD. JuG. 
Flemish stone ware, with yellow glaze relieved with 
blue enamel. Three raised medallions on body. 
Dated, 1613. 


4I—OLpD JuG. 
Rhenish stone ware, the body covered with relief 
ornamentation of heraldic rose and double eagle. 
Seventeenth century. 


" 42—Op Jue. 
Nurnberg glazed brown pottery, with pewter cover. 
Dated. 
43—OLD JuG. 


Nurnberg blue and white pottery, with pewter cover, 
called “ Meigelein.” Seventeenth century. 


44—JAR. | 
Rhenish stone ware in blue and gray. With in- 
scription. | 
45—URN. 


Sheffield silver plate. Graceful shape. 


46—ITALIAN LAMP. 
Brass, with sliding oil well, for four wicks. 


47—ITALIAN Lamp. 
Similar to preceding number. 


48—ITALIAN Lamp. 
Similar to preceding number. 


49—ITaALIAN Lamp. 


Similar to preceding number. Smaller. 


50—ITALIAN LAMP. 
Similar to last number. 


51—ITALIAN LAmp. 


Similar to last number. 


52—ITALIAN Lamp. 


Similar to last number. 


53—ITALIAN Lamp. 


Similar to last number. 


54—ITALIAN LAmp. 
Similar to last number. 


55—ITALIAN LAMP. 


Similar to last number. 


56—ItTaLian Lamp. 


Very small size, of the same type as the preceding 
numbers. 


57—WrovucutT [Ron BRACKET. 
Gilded scroll work. 


58—Two Brass Lamps. 


Hanging from chains, with original glass oil wells. 


59—Hancine Lamp. 


Brass. Its component parts are cast, moulded and 
turned. Suspended from four chains. Seventeenth 
century. Italian. 


60—Two JewisH LAmps. 


Wall lamps of cast and chased bronze, with back 
plates of allegorical and ornamental design. 


61—Two JeEwisH LAmps. 


Brass wall lamps. One with columned arch and en- 
graved back plate; the other of a simple Moorish 
type. | 


62—JEwIsH Lamp. 


Hanging’brass lamp, with nine pointed star-shaped 
. oil well. 


63—Brass BASIN. 


Venetian workmanship. Quadrilated ornament of 
heads and scrolls. Seventeenth century. 


64—Brass PLAQUE. 


Made at Dinant in the fifteenth century. With two 
circular rows of Flemish inscription. Fine pre- 
servation. 


65—Brass PLAQUE. 
Same workmanship as last number. Centre me- 
dallion representing Adam and Eve under the tree, 
surrounded by a Flemish inscription. 


66—Brass PLAQue. 


Same workmanship as last number. Rosette centre 
surrounded by Flemish inscription. ane 


67—GLass TANKARD. 


Cylindrical, with sHanvetied decoration of coat-of- 
arms, supporters, inscription and date 1590. Made 
in Nurnberg. 


68—CHOCOLATE Pot. 


Old Dresden blue and white poeseien with handle 
and cover-mounts of gilded and chased bronze of 
the eighteenth century. A rare specimen of 
mounted porcelain. 


69— PLAQUE. 


Hispano-Mauresque lustre ware, with scrolls and 
leaves in blue. 


70— PLAQUE. 


Hispano-Mauresque lustre ware, with double Mal- 
tese Cross outlined in blue. 


71—HEXAGON PANEL. 


With gilded and enamelled mounts from an old 
Venetian reliquary. 


72—CHALICE. 


Gilded bronze and silver, with engraved bands of 
early Renaissance ornament. Pierced emerald at 
top. Sixteenth century. 


73—BAS-RELIEF. 


Mother-of-pearl medallion. Made in China from 
an European print. 


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74—MEDALLION. 


Carved and enamelled mother-of-pearl, representing 
the meeting of the two Marys. On panel of tooled 
leather. Sixteenth century. 


75—FRAMED PANEL. 


Mother-of-pearl, carved with the Annunciation, 
head of Christ and Saints. In carved walnut frame. 
From Mount Carmel. Seventeenth century. 


76—BAS-RELIEF. 


Gilded bronze figure of St. John the Apostle, in 
ivory frame. School of Cellini. 


77—SMALL PortTRAIT. 


Ivory bas-relief of Charles, Feteditaty Prince of 
the two Sicilies. Small diamond inserted in one 
of the decorations. Late Eighteenth century. 


78—PEWTER PLAQUE. 


With relief medallions of the seven Electors of the 
Holy Roman Empire. Dated, 1672. 


79—CHAMBERLAIN’S Key. 


Of the Royal House of Saxony. Probably made in 
Paris during the First Empire. 


80—CHAMBERLAIN’S KEY. 


Gilded bronze. Of unusual form. The exact du- 
plicate in the Cluny Museum, Paris. 


81—Iron Key. 


Gothic workmanship of intricate openwork design. 
Early seventeenth century. 


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. 82—THREE -PIEcEs. 


Silver medal of Cosimo de Medici wit 
St. John; one of Pope Innocent XIth, and a da silver 
coin of the Doge Andreas Griti of Venice. Va 


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83—SILVER COIN. : ee 
A Strassburg thaler with the lily. Orname 

the finest coin of its kind. About 1625. — - 


84—Two PIECES. 


gram a motto of Freee Duke, and sat oe : 
of Spanish workmanship. — ) +SEE oe 


85—IvorY-HANDLED KNIFE. is 
Used to cut quill pens and make erasures on parch 
ment. Blade etched with figure and animals, show- 
ing traces of ancient gilding. German workman- : 
ship. Sixteenth century. 


S6—EMBROIDERED PURSE. 


Oriental silver wire embroidery on red velvet and = | 
leather, divided into five compartments. 2 aay 


87—SILVER SPOON. 
Swedish wedding gift. 


88—SILVER RELIQUARY. Bia 3 


Used at baptism, hanging from the arm of the god- 
mother. The ornamentation, in scroll and bead- 
wire, is extremely delicate, and of great purity and — 
perfection of line. The small receptacle above the — 
reliquary was used to hold perfume. Venetian. 
Seventeenth century. 


89Q—SILVER RELIQUARY. 


Oval, medallion-shaped, containing bones and relics 
of Saints. Seventeenth century. 


-QO—BAS-RELIEF. 


Gesso panel, representing the Virgin and Child. 
From a church near Pontassieve, Italy. Seven- 
teenth century. 


‘QI—Ivory STATUETTE. 


Figure of the Child-Christ with uplifted hand. 
Spanish workmanship of the seventeenth century. 
In a niche of gilded wood, with repoussé silver 
nimbus at top. 


‘Q2—CHESS Boarp. 


Inlaid with ‘Arabic ornaments in ivory. Seventeenth 
century. 


93—BACKGAMMON Boarb. 


A rich, brown wood, inlaid with Byzantine orna- 
ments in mother-of-pearl, tinted ivory, etc., of 
wonderful color. On the back a field for the game 
of Mill. Sicilian. Seventeenth century. 


A collection illustrating the different styles of ornamenting 
sheep and pigskin-bound books of the sixteenth and sev- 
enteenth century, such as hand-tooling, bind-pressing, illu- 
minating, tooling and etching of the gilt edge of the paper, 
silk and leather strings and brass clasps for keeping the 
book closed, etc. Splendid condition. 


‘94—LA CIRCE DI GELLI. 


Printed by Lorenzo Torrentino. Florence, 1550. 


94A—MARrsILiis SINGULARIA. 
Printed by Cominum de Tridino, 155 os 
-Beroii. Quaestiones Familiares. sate 
Printed by Juntas, 1551. ae ee ae 
Has their beautiful typographical — an wi th th the 

lily. e 


948—DOMENICHI. HisToRIA VARIA. _ 
Printed by De Ferrari. Venice, 1570. 


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Q4C—SCALIGER. ThA 
Printed by Andreas Wecheln. Frankfurt, 1576. 


94D—Fr. HERCULANI. 
De cautione. Venice, 1580. 


Q4E—LipsiuUSs, POLIORCETICON. ae 
Plantin. Antwerp, 1594. Belonged to Philip Lady 
wig, Count of Hanau and Rheineck, whose coat-of- ee 
arms is impressed in gold on the covers. ne 


94F—Bruni. MEDITATIONES. 
Birckman. Cologne, 1602. 

94G—HuLs1us. = 
Romanorum Numismatum. Frankfurt, 1605. 


94H—Donati. RetpuBLicA VENETORUM. 
Printed by the Elzeviers. 1631. 


Q4I—STURM. COLLEGIUM EsPERIMENTALE. 


Nurnberg. 1701. Belonged to L. Heister, a ite 
brated scientist of the seventeenth century, whose 
book-plate is inside the cover. On page 64 is the - 
first known illustration of an airship, a small boat 
suspended from four balloons, invented by Fr. Lana. 


95—Book. 


Large parchment bound folio, with views of forty 
French and Swiss cities, illuminated. Published 
by J. Jansson. Amsterdam. * About 1635. 


Q6—ATLAS. 


Large parchment bound folio, containing 118 maps 
of Northern Europe and Germany. Illuminated. 
Published by J. & W. Blau. Amsterdam. 1645. 


97—ATEAS. 


Large parchment bound folio, containing 92 maps of 
France, Spain, Asia, Africa and America.  Illu- 
minated. Published by J. & W. Blau. Amsterdam. 


1645. 


Q8—ATLAS. 
Large parchment bound folio, containing 84 maps 
of Italy, Greece, Russia, Germany and Florida. 
Illuminated. Published by J. & C. Blau. Amster- 
dam. 1640. | 


Q9—ATLAS. 
Large parchment bound folio, containing 61 maps 
of England, Scotland and Ireland. Illuminated. 
Published by J. Blau. Amsterdam. 1646. 


100—PHOTOGRAPHS. 
Large folio, containing 160 photographs of the 
masterpieces of English architecture. 


IOI—LEATHER PANEL. 
Repoussé leather, representing the Virgin and 
Child. Sgrafitto-gold frame. Seventeenth century. 
Italian. 


» 


102—-SMALL CARVED GROUP. 


_ German box - wood carving, representing 
prisoners. On marble base. Seventeenth centt 


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102A—l*our Ivory FIGURES. oe 
Representing Love the beggar; the traitor ; * oo 
doctor and the captive. By Schwabe. aj 2 


103—ALABASTER GROUP. | 


Representing three of the Hesperides and» small, a 
Cupid. The hair arrangement of the middle pee 
suggests a Venetian origin. os 


104—-CARVED Bust. 


Wood carving of the sixteenth century, ponresenen ec” 
ing St. John in an attitude of devotion. The lateral 
position of the joined hands is remarkably free 
from convention, and the expression one of great 
sorrow without the usual distortion of the features. 
The original coloring and gilding has mellowed to 
a rich brown. Bolognese School. 


Height, 2 feet 1 inch. 


IO5—SMALL Bust. = 


Head of Napoleon on base of red porphyry. Gilded 
bronze; after Canova. 


‘106—FRENCH MINIATURE. 


Portrait of a lady as Diana. First Empire. is 
silver gilt frame. as 


107—BRONZE STATUETTE. 


Original bronze by Théodore Riviére. Subject: 
Woman combing her hair. On pedestal of red 
marble. | 


I08—SMALL Box. 


Decorated on all sides with painted panels of con- 
ventional flowers. Small drawers inside. Venetian. 
Seventeenth century. 


109—CarRVED Box. 


With inlaid bands and a carved frieze of flutes and 
rosettes. Sixteenth century. 


10 inches by 18 inches by 8 inches. 


110—Box. 


Inlaid in dark and light wood; geometrical border. 
Seventeenth century. 


I1I—JEWEL CASE. 


Inlaid with colored woods, ivory and metals, in 
geometrical design. Italian. Sixteenth century. 


112—Ivory JEWEL CASE. Mey 


Beaded, perforated and partly decorated with orna- 
mental bands. Lined with old Venetian silk lampas. 
Seventeenth century. 


113—CarveED Box. 


The front carved with panel containing conventional 
animals. Sicilian workmanship. Sixteenth cen- 
tury. 


114—CAarVED Box. 
Similar to preceding number. Smaller. 


115—CarVED Box. 
Similar to last. Smaller. 


-116—SMALL StronG Box. = 
Wrought i iron. Wai painted. figures 0 on ir 


graved lock plates. Dated, 1621. Made in : 
berg. a 


117—Wroucut Iron TREASURE CHEST. 


Used for centuries by a small township in Bavat 
whose arms are painted on the plate covering 
lock in the inside. Access to the key-hole is ob- 
tained by pressing a secret spring completely hidden 
from view. Wrought iron double eagle on front 
and lid. Sixteenth century. 


1I8—LEATHER CASE. 


Originally used to hold knives and forks. Inside 
arranged for letter paper. Hand-tooling of Louis 
XIV. period. 


ITI9Q—LACQUER Box. | , 
French workmanship of the eighteenth century. 


I20—CARVED SHELF. . 
Small carved cornice, with brackets and shield. 


I20A— TABOURET. 


Pentagonal, with geometric inlay of mother-of-— 
pearl, tortoise-shell, horn, colored woods, ete. 


I21—OLp ARMCHAIR. 
Carved wood, with Spanish leather seat. 


122—SAVONAROLA CHAIR. 


Folding. Carved on front, arms and bases; relief 
medallion on back of a later date. Branded with the 
seal of a Carmelite monastery. 


123—SAVONAROLA CHAIR. 


Walnut. Folding. Leather seat and back. Heavy 
brass nails. Carvings on arms and front. 


124—SAVONAROLA CHAIR. 
Similar to last number. 


124A—Two ARMCHAIRS. 


Carved cherry, of unusual design. Covered with 
old Aubusson tapestry. 


125—ITALIAN CHEST. 


Walnut. Inlaid with borders and crest of colored 
woods and perforated medallions of.iron over 
red velvet. Secret lock. Seventeenth century. 
With stand. 


Size, 3 feet 8 inches by 1 foot 9 inches by 1 foot Io inches. 


126—GOTHIC CHEST. 

Carved and inlaid walnut, with gilded wrought 
iron lock plate and handles. On the underside of 

the cover is a geometric interlaced design, in colored 
inlay and ivory buttons. Secret lock, with two 
Gothic keys of interesting design. With oak stand. 
Italian workmanship of the fifteenth century. — 
Size, I foot 9 inches by 3 feet 5 inches by 1 foot 10 inches. 


127—GoTHIC CHEST. 
Carved walnut. The front and sides decorated with 
Gothic tracery in relief. Italian workmanship of 
the sixteenth century. 
Size, 1 foot 8 inches by 4 feet 6 inches by 1 foot 6 inches. 


128—O_LpD WRriTING TABLE. 
Inlaid walnut, with the inside arranged as a secre- 
tary. Has eight secret compartments concealed be- 
hind the drawers. Double sliding top. 


129—CABINET. 


With small drawers, inlaid with different woods. 
In the centre a movable compartment, disclosing 
three secret drawers in the rear. 


130—CORNER CABINET. 


Inlaid mahogany. The upper part with a glass door. 
English. 


13I—MAHOGANY DRESSER. 


Circular front. With drawers, shelves and two. 
secret key racks. Old English. 


132—MIRRoR. 


Divided in three. Carved wood painted and gilded. 
Louis XVI. . 


133—TEAKWOOD TABLE. 
Rectangular, inlaid with mother-of-pearl. 


133A—-CHINESE TABOURET. 


Carved teakwood. Red marble top. 
Height, 18 inches. 


134—FLEMISH SCHOOL. 


Portrait of Alexander Farnese, Duke of Parma, a 
Spanish General in the Netherlands. In the back- 
ground a view of ‘Antwerp with fortifications. End 
of the sixteenth century. Oval. Frame of the 
period. 

Size, 3 feet I inch by 2 feet 7 inches. 


GERARD DE TAIRG Ss. 


135—ABDUCTION OF PROSERPINE. 
Fine decorative treatment. 


Size, 3 feet 7 inches by 5 feet 3 inches. 


*~ 


J. RUYSDAEL. 1630—1681. 


136—ORIGINAL DRAWING. 


Pen and sepia. The outskirts of Harlem. With 
inscription and date. 


JAN VAN GOYEN. 1596—16s6. 


137—ORIGINAL DRAWING. | 
Dutch river scene. Sepia drawing. An important 
example, masterfully rendered. 


N. POUSSIN. 1594—1663. 


138—OrRIGINAL DRAWING. 
Pen drawing washed with sepia, representing Paul 
preaching from the temple steps. Remarkable com- 
position. 


TOBIAS STIMMER. 


139—ORIGINAL DRAWING. 
Pen and sepia. Representing a concert by female 
-musicians. The drawing of the hands is remark- 
able. ‘oa 


UNKNOWN. 


~140—ORIGINAL DRAWING. 

Pen drawing washed with several tints. Represent- 
ing sausage making in a Dutch village. Vigorous 
execution. 


HANS BOL. 1534—1593. 


14I—OiL PAINTING. 
Landscape on the Lower Schelde. One of the 
large-sized paintings by this Flemish miniature 
painter. Signed in full. Dated, 1578. 
Size, 2 feet 5 inches by 1 foot 6 inches. 
II 


142—OIL PAINTING. | 
Landscape on the Rhine. See preceding number. 
Signed in full. Dated, 1578. ~ 

3 Size, 2 feet 414 inches by 1 foot 5% inches. 


TH. ROUSSEAU. 1812—1867. 


143—OI1L PAINTING. 
Landscape. Storm clouds over a valley in the Jura 
mountains. Study from nature. Signed Tu. R. 
Size, 12 inches by 8% inches. 
144—OI1L PAINTING. | 


Study of an oak near a pond. Signed T. R., 53, 
at ‘the-teft: 
Size, 1 foot 9 inches by 1 foot 2% inches. 


C. DAUBIGNY.’ 1817—1878. 


145—OI1L PAINTING. 


Landscape on the Oise. From the collection of 
Nadar, the French aéronaut. Signed in full, with 
dedication. 

| Size, 10% inches by 7 inches. 


E. DELACROIX. 1798—1863. 


146—WATER COLOR AND GOUACHE. 


‘An Arab and his horse. From the collection of 
A. Gillet. Lyons. Catalogue of A. Robaut, No. 


1083; catalogue of A. Moreau, p. 290. Signed in — 


full. 


Size, 10 inches by 7 inches. 


A> VOLLON Sa ee 
147—O1L PAINTING. 


_ Portrait of Rosa Bonheur. Belonged to Francois 
Flameng, and was sold after his death. Signed in 
full. 


Size, 17 inches by 21 inches. 


A. CALAME, 1840. 


148—OIL PAINTING. 


A delicious bit of sunny road and cool shadows. 
Signed in full. 


Size, 10 inches by 8% inches. 


A. G. DECAMPS. 1803—1860. 


Si ae PAINTING. 


Replica of the Italian Courtyard sold at the Wil- 
son sale, 1881. The subject is reversed. This 
palette-knife sketch was given to Nadar, the cele- 
brated photographer and aéronaut, by Decamps, 
and sold at his sale in 1895. Signed D. C. 


Size, 2 feet 6 inches by 1 foot 8 inches. 


SIR JOSHUA REYNOLDS. 1723—1702. 


150—Or1L PAINTING. 


Venus and Cupid. Study made in Italy. From 
_Duchess of Sermoneta sale. Florence. 


Size, 101% inches by 9 inches. 


SIR DAVID WILKIE. 1787—1841. 


151—OiL PAINTING. 


Landscape. Small pond and boathouse, surrounded 
by trees. 
Size, 7 inches by 434 inches.: 


UNKNOWN. 


152—Oi1L PAINTING. 
Bust of young girl in a hooded cloak. | 
Size, 16% inches by 19 inches. 


——— 


Wo El ere “1787—1 840. 


153—OIL PAINTING. 
Leda and the Swan, in carved frame. om 
Size, 16 inches shyt I 


Te RICHARDSON. 


154—WaATER COLOR. 
Interior of a chapel. Signed T.M.R. 
Size, 14/4 inches by 10% inche 


R. SORBI. 


The small paintings by this artist have a quality and subtle 
charm absent in his larger work. They are equal to Wie ; 
work of Pokitanow with a larger touch. 


155—OIL PAINTING. ee 
Landscape. Farm near Florence. 
Size, 44% inches by | 24 ene 
156—OiL PAINTING. | 
Landscape. Sunlight. Sal 
Size, 2% inches by 1% inches. 
157—Oit PAINTING. | 
Landscape. On the Bolognese road. _ 
Size, 3 inches by 234 inches. 
158—OiL PaInTING. ee 
Landscape. A sunny court at Settignano. 
7 Size, 3%4 inches by 3 inches. 
I59—OIL PAINTING. \ 
Landscape. A country road near Florence. 
Size, 434 inches by 134 inches. - 
160—OiL PAINTING. oe 
Leaving the church after the baptism. 
Size, 334 inches by 3 inches. 


~161—Oi1L PAINTING. 
Dante and Beatrice in the gardens at San Miniato. 
Size, 2 inches by 2% inches. 


162—O1L PAINTING. 
Landscape. A cloudy day. 
me Size, 234 inches by 2% inches. 


163—PAINTING ON PANEL. 


Adoration of the Magi. Seventeenth century. 
Italian. | 


164—INDIAN MINIATURE. 


Representing Shah Jehan holding a Durbar. Mem- 
bers of his family and tributary Princes are all 
portrayed with the utmost fidelity; even the small 
figures at great distances have their peculiar 
individuality. Note the elephant’s eye in the re- 
motest distance. In carved frame. 


165—INDIAN MINIATURE. 


_ Representing a state reception by an Indian Prince. 
Here again all the personages are portraits, includ- 
ing the musicians in the distance. Carved frame. 


166—INDIAN MINIATURE. 


Portrait of an Indian Prince. In carved frame. 


167—ByYZANTINE PAINTING. 


Representing three standing figures of Patron- 
Saints. Carved frame. . 


168—OvaAL PAINTING. 


On copper. Representing St. Michel killing the 
dragon. Sixteenth century. 


r : > = 
ini 
aoaitia 
= 


169——SMALL PAINTING. | : 
Virgin and Child. School of Cimabue, 
of the period. Was saved from a burni 


170—O1L PAINTING. 
Battle piece. School of Titian. 


17I—ByZANTINE Icon. 
Madonna and Child. On gold ground, 


172—ByzaANTINE Icon. | a 
Madonna and Child. On gold ground. | 


specimen. 


173—ByZANTINE Icon. 
Holy Family. On gold ground. 


174— BYZANTINE IcON. 
Madonna and Child. On gold ground. 


175—PANEL. 
The Flagellation. School of Lippi. 


176—ILLUMINATED PARCHMENT. 
A leaf from an Antiphonarium of the sixteenth 
century. Enriched with the Nativity and other 
Biblical scenes, covering most of the page. In 
carved frame. 


177— ENGRAVING. he 
The abduction of Amymone. Original by A. Diirer. 
With the letter P watermark. Narrow margin. 


178—ENGRAVING. 


Allegorical subject, female figure holding a mirror, 
and Death with hour-glass. Attributed by Bartsch 
to Michel-Angelo. . 


1790— ENGRAVING. 


Chiaroscuro woodcut, representing the Nativity. 
By an unknown German master. Dated 1548. 


180—ENGRAVING. 
Woodcut on parchment, representing Christ on the 
cross between Mary and John. By an unknown 
German master. Sixteenth century. 


181—ENGRAVING. 


Famous woodcut. The portrait of Martin Luther. 
By Lucas Cranach. Dated 1548. 


182— ENGRAVING. 
Chiaroscuro woodcut, representing Circe giving 
drink to the companions of Ulysses. By Andreas 
Andreani. 1540—1623. 


183— ENGRAVING. 
Chiaroscuro woodcut, in green and white. Subject, 
“Narcissus. By A. Andreani. 


184— ENGRAVING. 
Chiaroscuro woodcut, in yellow, brown and white, 
representing the entombment. By A. Andreani. 
Dated 1565. 


185—ProoF ENGRAVING. 
Two-color print. The portrait of a gentleman, after 
Van Dyck. By. Ploos van Amstel. The artist’s 
autograph, a dedication, is on the back of the print. 


Translation: “To my friend and fellow-citizen the Hon- 
orable Jonas Wesle, Burgomaster of the city of Amster- 
dam, etc., etc., this second proof, printed in two colors. 
Anthony van Dyk del., Ploos van Amstel F. 1766.” 


186— ENGRAVING. 
Venus between Ceres and Bacchus. By H. Golt- 
zius. This print belonged to Mariette, a great 
collector of the seventeenth century. His autograph 
is on the back. a 


187— ENGRAVING. 
The Standard-bearer. By H. Goltzius. 1585. 


I88—ENGRAVING. 


Original two-color print after Boucher, representing 
Venus disarmed by cupids. Engraved by Demar- 
teau. 1773. In gold frame. | 


189 ENGRAVING. 


Original two-color print after Boucher, representing 
a young girl and child by the fireside. By Demar- 
teau. 


I90—ENGRAVING. 


Original three-color print, after J. B. Huet, repre- 
senting a pastoral scene. By Demarteau. 


IQI—ENGRAVING. 


Original two-color print after J. B. Huet. The 
Shepherd and his Flock. By Demarteau. 


192—ENGRAVING. 
Original two-color print after J. B. Huet. Young 
peasant girl with chickens and a dog. By Demar- 
teau. 


193— ENGRAVING. 


Original two-color print after J. B. Huet, repre- 
_senting a shepherdess teaching her dog. By 
Demarteau. 


194 ENGRAVING. 


Original two-color print after J. B. Huet. Young 
shepherd boy and his pet sheep. By Demarteau. 


I9Q5—ENGRAVING. 


Original two-color print after J. B. Huet. Young 
girl with fowls and a dog. By Demarteau. 


IQ6—ENGRAVING. 
Portrait of a young painter. By Count August von 
Seinsheim. 


197—PaiR OF PRINTS. 
Copper plate engravings printed in colors, repre- 
senting Emperor Francis I. and Maria Theresa. 
By Goz. Very rare. In cream and gold frames. 


I98—THREE PIECES. 
Framed autograph of a German nobleman, with 
illuminated inscription. and coat-of-arms, dated 
1602; and two Italian prints of the sixteenth cen- 
‘tury, illuminated, in carved frames. 


IQQ—ENGRAVING. 
View of Heidelberg Castle. Hand colored. Dated 
1620. By W. Hollar. 


-200—ENGRAVING. , 
View of Heidelberg. Hand colored. About 1625. 
By W. Hollar. 


arty “i 
ea 
ria 


mapa VSR 


SECOND AFTERNOON’S SALE 


TUESDAY, MARCH torn, 1908 
AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O'CLOCK 


20I—ENGRAVING. 
View of Liége. Hand colored. About 1625. By 
Hollar. | 


202— ENGRAVING. 
View of Lucerne. Hand colored. About 1625. 
_By W. Hollar. 


203—OLp Map. 
Europe under the Roman Empire. Illuminated. In 
carved frame. About 1580. 


204—OLtp Map. 
Holland. Illuminated. In carved frame. 


205—OLp Map. 
Itinerary of St. Paul’s travels. Illuminated. In 
carved frame. Printed 15709. 


_ 206—OLp Map. 
Canaan and Life of Abraham. Illuminated. In 
carved frame. Printed about 1580. 


te 


at ee” Braet | sur os 
i ude ha) Hoke Coe hee ae 
a ie: eT ee 


bapsbgeoade RDS eee ee a fs 
The suburbs of Frankfurt v/M. Wit nil ni 
coat-of-arms of its notable families. 


eau >. 
om De 


208—ENGRAVING. sees 
View of Coburg. Illuminated, About 162 a 


209—OLp Map. i 
The World. 1587. Illuminated. 


? a, | 
! ; 


_ 210—OLp Map. 
Europe. 1587. Illuminated. 


211—OLp Map. : | 
America. 1587. Illuminated. 


212—OLpD Map. 
Africa. 1570. Illuminated. 


213—OLp Map. 
Asia. 1587. Tikumearenl 


214—OLp Map. 
Pacific Ocean. 15809. Illuminated. 


215—OLp Map. 
North Sea. 1587. Illuminated. 


d . ‘ 


216—OLp Map. : | 
Iceland. 1585. Illuminated. 


217—OLp Map. 3 : 
France. 1587. Tinea et 


218—OLp Map. 
British Isles. 1587. Illuminated. 


i” Mar. 
4) Ireland. 1572. Illuminated. 


iets I 587. Illuminated. 


n 223—Oxp Map. | 
tH ES 1560. Illuminated. ~ 
i wi ; 


 224—Orw Map. 
‘Italy. I 582. ‘Mhuminated. 


be 228—OLD Map. 
i Germany. 1578. Illuminated. 


—-226—Orp Map. 
Brandenburg. 1588. Illuminated. 


— 227—Oxtp Map. | 
Prussia. 1584. Illuminated. 


228—OLp Map. 
Austria. 1584. Illuminated. 


229—OLp Map. 
Hungaria. 1572. Illuminated. 


230—OLp Map. 
| Roumania. 1584. Illuminated. 


amy ol 
a as 


fe; Ons Map. — 
Zeeland. 1 584. Tite eae 


232—OLp Map. — 3 
Greece. 1582. IIluminated. 


233—Ot Map. 
Cyprus. 1573. Illuminated. 


.234—O.tp Map. 


Ottoman Empire. 1584. Iluminated. 


.235—OLbD Map. 
Holy Land. 1582. Illuminated. 


236—OLpD Map. 
Abyssinia. 1587. Illuminated. 


237—OLp Map. 
Russia. 1562. Iluminated. 


-238—OLp Map. 
Tartary. 1587. Illuminated. 


_239—OLD Map. Sk. 
China. 1584. Illuminated. 


.240—OLD Map. 
India. 1582. Illuminated. 


-241—Otp Map. 
Acores. 1584. Illuminated. 


_242—OLp Map. 
Cuba. 1579. Illuminated. 


243—OLp Map. 
Mexico. 1579. Illuminated. 


243A—INDIAN MANUSCRIPT. 


Ten thousand verses of the Mahabharata, the great 
epic poem of India, written in Pali on palm-leaves 
about the fifteenth century. Complete. 


- 243B—SANSCRIT MANUSCRIPT. 


Written on palm-leaves. Religious subject. Eigh- 
teenth century. 


244—ALBANIAN JACKET. 


Completely covered with silver embroidery on gray 
velvet. 


245—Two RussiAn HEADDRESSES. 


Gold embroidered on red velvet; the other flattened 
out to form small table cover. 


246—THREE EMBROIDERED HEADDRESSES. 


“Worn by Bavarian peasants in the last century. 
Silver and gold embroidery. 


247—THREE EMBROIDERED HEADDRESSES. 
Similar to preceding number. 


248—THREE EMBROIDERED HEADDRESSES 
Similar to No. 246. 


249—THREE EMBROIDERED HEADDRESSES. 
Similar to No. 246. 


250—THREE EMBROIDERED HEADDRESSES. 
Similar to No. 246. 


25 FR tack nore -HEADDRESSES. 
Similar to No. 246. as 


252—Two EMBROIDERED HEADDRESSES. 
Similar to No. 246. 


-253—-CUSHION. , . 
Embroidered neee Renaissance | 
white ground. 


254—CUSHION. 
Made of embroidered girdles. 


255—CusHION. 
Salmon and blue Scutari silk. 


256—Two CusHIONS. 
Indian embroidery. 


257—THREE PIECES. 
Russian embroideries in gold and silver thread. : 


258—SCARF. ‘ ae 
Bosnian embroidery in old gold silk on linen. hae a 


259—TABLE COVER. | 
Venetian brocade; pink ground. Se RS 
Size, 3 feet 10 inches by 3 feet 2 inches. — 


_— 


260—TABLE COVER. . | 
Oriental embroidery in red tones. 


261—TABLE COVER. 


Old Venetian brocade in old gold on green. 
Size, 3 feet 6 inches by 3 feet 4 inches. 


262—T ABLE COVER. 
4 Venetian brocade. Silver on pale green. 
Size, 4 feet 8 inches by 3 feet 2 inches. 


263—TABLE COVER. 


Bosnian embroidery. Sage-green centre. 
Size, 3 feet 6 inches by 3 feet 6 inches. 


264—SMALL TABLE COVER. 
Oriental embroidery and Venetian lace. 


265—SICILIAN EMBROIDERY. 
With green silk border. 


266—E MBROIDERED SCARF, 
Oriental silk and gold thread embroidery on linen. 


Size, 5 feet 10 inches by 2 feet 11 inches. 


267—TABLE COVER. 
Flowers and foliage on’ an ivory ground; silk 
brocade. Louis XV. 
Size, 5 feet 6 inches by 3 feet 6 inches. 


268—OLpD SADDLE-BAG. 


Red Bokhara, with deep fringe. 
Size, 3 feet by 1 foot 6 inches. 


269—OLD PRAYER Rua. 
Appliqué embroidery on cloth. Conventional flow- 
ers on a yellow and olive ground. 
Size, 4 feet 1 inch by 2 feet 6 inches. 


270—SADDLE Rue. 
Conventional ornaments and animals on a copper- 
colored ground. Persian. 


Size, 3 feet 6 inches by 2 feet 10 inches. 
II 


orien Rus. 
With Chinese rosettes on ground of 
Samarkand. 


272—SMALL Rue. 


With Chinese pattern in several tones of vel 
Samarkand. ) peo en 
Size, 4 feet 1 inch by 2 feet : He ea 


Be Pin xt 
ae 


273—OLD Prayer Rue. 


Conventional flowers on a blue ground centre. ; 

Border of geometric ornament. Very close nap. * e 

With yellow silk fringe. Daghestan. Leo 
Size, 5 feet 3 inches by 2 feet 9 ‘aero: 


274—OLD PRAYER RUG. 


Centre of small diaper pattern on smalt-blue stoma 
Wide border of conventional flowers on white 
ground. Unusual specimen. Yellow silk fringe. 


oy 


275—OLD PRAYER Rue. 


Geometric ornaments on rose and _ sage-green 
ground. Daghestan. Rea ET | 
Size, 4 feet 8 inches by 3 feet. 


276—OLD PRAYER Rue. 
Daghestan. Mellow coloring, with inscription. 
Size, 4 feet 10 inches by 3 feet 2 inches. 


277—RuG. 


Old Persian palace rug. Dark blue centre, covered 
closely with small conventional floral pattern. 
Border has red ground, with eleven colors. 


Size, 13 feet by 5 feet 9 inches, 


278 —Inp1an EMBROIDERY. 


Conventional flowers on pale amber-colored satin. 
Blue border. 
Size, 7 feet 1 inch by 5 feet 5 inches. 


279—CHINESE EMBROIDERY. 


Part of mandarin’s robe. In yellow silk on salmon 
- ground. 


280—TABLE Cover. 
Old Gothic red silk brocade, with gold thread. 
Size, 4 feet 8 inches by 3 feet 6 inches. 


281—DRAPERY. 
Persian silk brocade. In blue, silver and colors, 
with small floral pattern. 
Size, 4 feet 2 inches by 4 feet 4 inches. 


282—DRAPERY. 
Salmon-colored silk brocade, with small diaper 
pattern in gold. 
> Size, 4 feet 8 inches by 6 feet. 


_ 283—Larce Drapery. 


Persian silk. Entirely covered with yellow embroid- 
ered scroll ornament. é 
Size, 5 feet by 7 feet. 


284—T ABLE COVER. 


Persian silk. Embroidered with floral motives on a 


red ground. 
. Size, 2 feet by 3 feet 6 inches. 


285—TABLE COVER. 
Dark écru Louis XVI. silk brocade, with floral 
bands. 


Size, 2 feet 4 inches by 3 feet ro inches. 


bse tinte Cove 
Green silk lampas, with é écru gallon, 1 -Renai 
Size, 2 feet 2 inches by 2 fea a 


ae 


o8y! Ca acunLy: 
Old Genoese velvet; red on white, with gol 
loon. 


Size, 6 feet 8 inches by 2 feet 
288—Two Marts. ty 


Italian Renaissance. Appliqué cna 
velvet. 


289—Two PIECES. 


Semicircular, orange silk brocade, wae Astale and 
ribbon pa in colors. ae 


290—LAMBREQUIN. | 
Old gold appliqué on a red silk damask. 
Size, 7 feet 3 inches by 1 foot 4 inches. ~ 


¢ 


29I—T ABLE COVER. a 
Red silk, embroidered with delicate scroll designs as 
in silver. Reverse, blue and silver. Spanish, 


gia) ® 


Size, 1 foot 6 inches by 2 feet 8 inches, 


292—TaBLE Mart. 
Ivory silk brocade. Louis XVI. 


— 293—TaBLe Mart. 


Red satin, embroidered with flowers and wreath. 
First Empire. 


2904—-CUSHION. 
Genoese velvet. Red on white. 


—295—TaBLE COovER. 
Oriental embroidery on linen, blue and gold on old 
rose. 
Size, 2 feet by 3 feet 3 inches. 
296—TABLE COVER. 
- Cream-white centre, with border of Chinese em- 
broidery on blue silk. 
Size, 2 feet 2 inches by 2 feet 9 inches. 


297—TaBLE COVER. 3 
Chinese embroidery. Gold on red, with silk fringe. 
Size, 3 feet 2 inches square. 


298—LARGE DRAPERY. 
Japanese silk brocade. Conventional gold pattern 


on cream-white ground. 
Size, 6 feet 3 inches by 7 feet. 


299—JAPANESE BROCADE. 
Shot silk effect, in green.and bronze. 
Size, 6 feet 9 inches by 4 feet 4 inches. 


300—EMBROIDERY. 
On linen. ‘Albanian. 


30I—SILVER MounrTING. 
For chatelaine bag. Hall marked. Dutch. 


302—SILVER BELT-BUCKLE. 
Set with small turquoise. Russian. With silver 
braid on leather belt. 


303—THREE BELTS. : 
Two of gilded bronze, with chased and perforated 
ornaments. Russian. Seventeenth century. One 
of red velvet, with gilded bronze buckle. Louis 
XIV. 


304—T wo Pieces. eh. 
Oriental buckle and fibula. Silver. 


305—SILVER BELT-BUCKLE. | 
In two parts. With interlaced repoussé or 


Sp) 


aay 
pede S 


306—SILVER BELT-BUCKLE. | 
In three sections. With raised medallions. 


307—LARGE SILVER BUCKLE. ee 
Worn in European Turkey and Albania. With 
concentric bands of repoussé ornament. In three 
sections. : Aa 


308—LAaRGE SILVER JEWEL. 


Worn on the breast. A filigree disk, with star- 
shaped ornament set with stones. Attached to it 
by two woven silver chains are two pendants, set 
with silver knobs and stones. From Morocco. — 


a7 


309—PartT OF BRIDLE. 


Red silk, with interwoven silver wire. Ends and 
middle ring of silver gilt. Moroccan. — 


310—SILK SworpD BELT. 


Interwoven pattern of gold thread. Ends, of gilded 
silver, with enamel. From Morocco. 


31I—ALBANIAN KNIFE. 


Scabbard entirely covered with repoussé silver. 
Damascened blade. 


312—ALBANIAN KNIFE. 


Scabbard entirely covered with repoussé silver. 
Slightly curved shape. 


313—CuRVED KNIFE. 
Mounted in brass and silver. The front of scab- 
bard enriched with a number of chased silver 
plaques of fine design. Suspended by red silk cord 
with tassels. 


314—Cossack KNIFE. 
Silver mounts, inlaid with niello. Grooved blade. 


315—CossAcK KNIFE. 


Silver mounts and handle, inlaid with niello. Re- 
fined style of ornament. Thin blade. 


316—Cossack KNIFE. 


Silver mounts, incised and inlaid with niello. 
Grooved blade. 


317—LarGE Cossack KNIFE. 
Scabbard almost covered with silver ornament, with 
very beautiful niello scroll work. Damascus blade, 
with gold ornament and inscription. 


318—Cossack KNIFE. 
Scabbard entirely covered with silver, deeply en- 
graved and incrusted with niello of Byzantine 
design. The blade is engraved and much older than 
the mounting. | 


319—RussiIAn KNIFE. 
Mounted in silver with niello ornaments, set with 
turquoise. Scabbard mounted with openwork and 
chased silver, set with turquoise. 


320—SILVER-MOUNTED PISTOL. 
With niello decoration. Flint lock. 


32I—SMALL PIsTOL. 
Worn at the belt. Finely wrought mountings, with 
spirited heads and ornaments. Flint lock. German 
workmanship of the seventeenth century. Splendid 
preservation. 


322—Y ATAGHAN. 


Mounted in silver, with niello incrustations. Blade 
damascened, with silver ornaments and inscription. 


323—Y ATAGHAN. 
Silver mounted. Ivory handled. No scabbard. 


324—Y ATAGHAN. 
Ivory handled. Silver mounted Damascus blade, 
with inscription in gold from the Koran. Coral 
and turquoise on the hilt. Repoussé silver scabbard. 


325—CEREMONIAL KNIFE. 


Indian workmanship. Carried in the hand at state 
receptions. Vigorously chased with interlaced orna- 
ments of interesting design of decided Byzantine 
feeling. The flexible ribbon chain secures the knife 
to the wrist. 


320—CINGALESE KNIFE. 


These knives were used by natives of the highest 
caste and are ornamented with most of the typical 
motives of the exquisite and little known Cingalese 
style of decoration. Among the most beautiful 
forms are those carved from rhinoceros horn at 
the hilt. 


327—-CINGALESE KNIFE. 


Similar to preceding number. 


r A 
ES a ee ee = [os 


Pe SAL KANDJAR. 


Ivory handle, Damascened ene repoussé silver 
scabbard. 


329—PERSIAN KANDJAR. 


Fossil ivory handle, finely modelled Damascus blade. 
Scabbard covered with old Venetian brocade and 
mounted in silver repoussé, with grotesque heads 
and ornament. 


~ 


.330—CAMBODIAN Sworp. 


Of iron and brass, enriched with silver wire and 
repoussé ornament, set with large pieces of coral. 
‘The blade of welded steel. 


33 1—SWworb. 
A straight, flat blade, in an open scabbard of wood, 
mounted in silver delicately inlaid with filigree orna- 
ment of exquisite design, enriched with Persian 
turquoise. Suspended by a flat woven braid. 


_332—PERSIAN SCISSORS. 


Damascened in gold. Gilded bronze handles form- 
ing inscription. 


_333—PAIR OF STIRRUPS. 
Wrought and perforated iron, with medallions con- 
taining small animals and scroll work. Silver knobs 
at corners. An unusual type. Portuguese work- 
manship of the seventeenth century. 


_334—EcypTi1An FIGuRINE. 
Mottled green enamel, mounted as a seal on base of 
gilded silver. 


335—EGYPTIAN FIGURINE. 
Similar to preceding number. 


336—EGypPTIAN FIGURINE. 
Similar to a NG. 334- Smaller. 


337—T wo Grass Covers, 


ipidestenes one ivory sete 


338—SMALL GLass ie i 
Yellow threads on dark blue. The missing top 
replaced with gold. On oN silver stand. 


339—-SMALL GLass BOTTLE. | 
Amphora shape, with two handles. Has straight 
and zigzag bands of light blue and yellow inlaid in — 
red-brown. On gilded silver stand. 


340—SMALL Gtass BOTTLE. 
Amphora shape, two handled, with threads’ of 
yellow glass on a dark-blue ground, covered with 
silver iridescence. On gilded silver stand. 


341—Bort Le. 3 
Flaring at the top, with a favrile barue of purple 
on a white ground. Repaired with gold. On gilded 
silver stand. | 


342—BOTTLe. 
Flaring at the top, with a favrile issereeen in 
white, light blue and yellow, on a dark-blue ground. | 
On gilded silver stand. | 


343—SMALL BOTTLE. 
Roman, blown glass. Decorated with lions’ heads, 
rosettes and wreaths in relief. On ivory stand. 


igh 


2 44—FRacment OF Ra GLASS. 


Part of a moulded frieze of blue glass, with tragic 


uk tn sag Oe and palmetto. On ivory stand. 
he 7 x ‘ $ 


ay 345—Tanacra STATUETTE. 

i he) surterso.: On ebony stand. 

| -346—TANacra STATUETTE. 
___._ Figure of Hebe holding a bowl. 


-347-TaNAGRA STATUETTE, 
Draped female figure. With case. 


~ 


or 348—Tanacra Bust. 
g Head of Pallas. Mounted on a wood panel, with 
an ____ inserted pieces of old Indian lacquer work. 
. 9 
Bie seat, } 


Gold mounted, with Coitatt of the owner on red 
carnelian. On a thumb ring of heavy gold wire. 
About 100 B.c. Roman. Fine gold. 


350—SEAL RING. 


Heavy gold setting with red sardonyx intaglio. 
Subject, head of Gtdipus. About 100 B.c. Roman. 
Fine gold. 


351—RING. 


Heavy gold setting, with deep-red garnet intaglio, 
representing a sacred bull. Roman. Fine gold. 


352—RING. 
Heavy ribbon design on body. Set with pale-blue 
sapphire. Fine gold. Roman. 


353—SEAL RING. 
Heavy gold setting, with red sardonyx intaglio. 
Subject, abduction of Amymone. 200 B.c. Roman. 
Fine gold. 


354—FRAGMENT OF ROMAN CAMEO-GLASS. 
Represents the upper half of two enlacing figures 
of a Roman youth walking with a Bacchante in a 
triumphal procession. Only three complete pieces 
of similar workmanship are known to exist, the 
Portland vase being one of them. Of fragments 
there are about a dozen; the present one is the only 


one having a green body under the cream-colored . 


upper stratum. The plate of which this is a frag- 
ment measured about Io inches in diameter, and 
was probably broken before the work was com- 
pleted. Set in pure gold rim of more recent date. 


355—lIwo SILVER COINS. 


Beotia. 395-387 B.c. Stater, with shield and in-’ 


fant Hercules. Triobolus, with shield and amphora. 


356—SILVER COIN. 


Tetradrachme of Macedonia. Alexander the Great. 
336-323 B.c. Reverse, Jupiter on a throne. Rare 
mint-mark. 


357—SILVER COIN. 


Tetradrachme. Similar to preceding number, with 
different mint-mark. 


358—SILVER COIN. 


Tetradrachme of Macedonia. Phillip II. 359-336 
B.c. Head of Jupiter. Reverse, youth on horse- 
back. 


ee ae a 


etradrachme of Thessalia. Demetrias. 302-286 


a Bc. Reverse, Jupiter on throne. 


60—SILvER AMPHORA. — 

_ Two handled, with flaring top. At the shoulder and 

_ base repoussé ornament. Around the body a frieze 
engraved with two groups of nymphs seated, one 
on a sea-horse, the other on a dolphin, bringing 
Achilles’ armor. Greek workmanship of about 400 
B.c. In excellent preservation, on ivory stand. 


| 361—Rocca LAMP. 


Turquoise glaze. Iridescent. 


362—Rocca Lamp. 
Turquoise glaze. Iridescent. 


| 


eR beck Bow: 
Fi ine deep-blue, with ornamentation and jridescence. 


area BowL. 


An unusually fine specimen, evenly covered with 
iridescence. From the private collection of the late 
Sing: | 


365—OLp ARABIC PLAQUE. 


An exquisite shade of sage green, with floral dec- 
oration of cream white and gray. 


‘THIRD AFTERNOON'S SALE 


~~ WEDNESDAY, MARCH 11TH, 1908 


14 


AT THE AMERICAN ART GALLERIES 


*) wee 
es, 


BEGINNING AT 2.30 0’CLOCK 


4 be 366—SMALL VASE. : 
. Satsuma. Decorated in gold and blue. 


z= 

~  367—Two Pieces. 

: Raku box; shape of plum blossom, with cover. 
ee Rectangular box; with mishima decoration of a 


horse and small figure. Hayashi collection. 


— 368—Saxe BortLe. 
Dark-brown stoneware, with spout and _ handle. 
Repaired with gold. Karatsu. 


369—JAR. 
Ivory glaze. Rough blistered effect. Old ‘Ageno. 


370—Two Trea Bow .s. 


One, a thick white glaze, decorated with the head 
and claws of a cat. The other, a greenish white 
glaze, with design of flowers. 


371—Two Tra Bow.s. 


Dark-brown and gold glaze. Raku. One, yellow, 
with green spots. y, 


372—Two Tea Bowls. 
Dark-blue glaze, with slender neck. One, dark- 
green splashes on a brown glaze. Banko. 


373—Two BowLs. 


One, heavy dark-green glaze over a body of light- 
yellow clay. The other, has a light-greenish glaze 
over a light-brown. 


374—Two Bowls. 
One has a rich brown glaze over ens fibers clay. 
Ofuke. The other is spherical in shape, glazed a 
dark red-brown. 


375—TIwo Bow.Ls. 


One has a thin brown glaze on a grayish clay. By 
Ninsei. The other is glazed with two shades of 
brown. Takatori. Hayashi collection. 


370—SMALL JAR. ; 
Decorated with a design in gold, silver, red, blue 
and black. Satsuma. Signed Ninsei. 


377—SMALL JAR. 


A dragon and waves in gold and silver on a red 
ground. Kioto. The cover, of black lacquer, deco- 
rated with crest and bamboo in gold. 


378—SMALL JAR. 


White and gold chrysanthemums on a silver ground. 
Kioto. 


379—OsLonGc DisuH. 


White glaze, decorated with maple branches in red. 
Shino. 


‘ivory crackle, with circles of blue. 


Hagi. 


e Orit, with dark lustrous glaze. Shigaraki. 


- Sage-green Peau with border of Sei circles. 
- Korean. 


ie gt Bow. 
Ivory crackle, shaded to pink. With gold lacquer 
ve --Tepair. baal 


385—TeEa BowL, _ 
| Dark ivory crackle. Old Satsuma. 


386—TrEA Bow . 


Yellow, with transparent opalescent. glaze. Fine 
crackle. Kiseto. 


—387—Tra Bow . 
_ Cylindrical shape, with yellow crackle. Kiseto. 


-388—TeEa Bow . 
Large yellow bowl, with green and amber spots. 
Kiseto, 


i 389-—TrEA Bow L. i 
Yellow and brown glaze on gray clay. rs 
II . a 


sins on ivory oe 


391—TEa Bowt. nie 
Mishima. Cream- white rosettes and lines ot 
eray. 


392—TrEA Bow.. 


| Camellia and leaves in white, green an gold 0 on 
ivory clay. Awata. ore 


303—TEA BowL. 


Ivory crackle, with decoration of bamboo, plum 
blossoms and pine branches in blue, green, red and — 
gold. ‘oth * oe a Be 


394—TeEA Bow. 


Black glaze, with reserve of plum blossoms on ivory ‘ ae 
clay. ae 


395—Two Bowts. 


One, salmon-colored glaze, with ivory. spots. 
Korean. The other is of a graye cae clay, 
speckled with yellow. 


396—TeEa Bow . ; 
Dark-brown glaze over light-brown clay. 


397—TEA Bow. 


An authentic bowl by Temmoku, with eypiedl are rab- 
bit’s fur” iridescence. Twelfth century. - 


398—Two Tea Bow is. 


Old Hagi, blue and dark ivory. Old Gohon, oray | 
glaze 7 


celadon. glaze, with mishima crests on a dark- 
brown clay. Karatsu. The other, a large bowl, 

~ decorated with elephants, clouds and conventional 
~ peonies on a yellow ground. Chinese. 


a) 


: Bei Bow. 
Pes. {a style. Rich dark tone, with iridescence. 


“Old wee Fine crackle. 


San Bowt. , a 
Old Hagi. Of a dark rich ivory color. Gold lac- 
quer repair. : | 


a 4 


 403—SAKE Bortte. . 
Gray glaze, with green. ee 


4 =§ 404—SMALL VASE. 
~ Gourd shaped ; light green-gray ees 


: ~405—SMALL VASE. 
. ... Gourd shaped, with dark- olive glaze. Bizen. 


400—J ARDINIERE. | 
Speckled- peray glaze on dark- ‘pier clay. Karatsu. 


407—V ASE. 
Gray crackle, with elven tin. ‘Hagi, 


E 408—INCENSE BURNER. 


Black line Bectkabons on a Jight-yellow ae 
By Kenzan. 


409—SMALL JAR. 


-Grayish-white crackle, with wood cov 


410—KOREAN JAR. 


Wide opening; gray glaze with fine old ath, -Sile 
ver rim. ae | 


ei os : or 
Ted 

41I—JAR. | ; ae 
Old Korean. With wide opening, gray stoneware, 
with green glaze. Before the twelfth century. | ; 


412—SMALL VASE. | | <a ae 
Cream white. Korean. 3 | 


413—PLATE. : 


White and gold centre, with fish jumping out of 
the water. Border, silver on red. 


414—SATSUMA Box. 


Spherical, with conventional flowers and foliage i in 
gold and colors. 


415—SATSUMA JAR. | 
Decorated with lion and peonies. Wood cover. 


416—SaTsuMA INCENSE BURNER. 
Ivory-white crackle, with silver top. 


417—SATSUMA TEAPOT. 
Undecorated. Old ivory glaze. 


418—SaTSUMA PLATE. 


With raised wave lines and conventional flowers 
and leaves of chrysanthemums. 


> & Shr Ex 
_ 420—Sarsuma PLATE. 
i coam ; _ Similar to preceding number. 


ee SATSUMA TEAPOT. 
_ Decoration of cherry blossoms and scalloped border 
in gold and colors. Repaired with gold. 


423—SatsuMA Disu. 


Rectangular, with wild flowers and conventional 
_ ornament in gold ‘and colors. 


_ 


| 424—SMALL Cup. 


Cream-white paste, ane raised design of howd 
birds. Gold edge. By Yeraku. 


425—-PLATE. 
Turquoise blue; shape of lotus leaf. Unusual 
specimen. 

426—V ASE. 


- Flat-shaped, apple-green glaze, decorated with two 
panels, containing bamboo stalks and pine branches. 
Chinese. 


427—HawTHORN JAR. 


Blossoms outlined in blue on black ground. Wood | 
stand and cover. 


aeliea 7 Gites Jar 


Decorated with children at play, in red, af 
and green. Chinese. 


> 
“es Wie 


429—SMALL MING VASE. 2 ata 
Graceful shape, fine warm crackle. With stand. 


430—VASE. , aa | ba Ets: . 
Greenish ivory crackled glaze. Oviform, with “ 
carved stand. Ming. meses etek 


431—PuZzzLE Cur. 


Shape of part of apricot, with the figure of anold, | 
‘bearded philosopher in the centre. When morethan 
three-quarters full, the liquid will run out at the 
bottom until the cup is quite empty. 7 


432—OLD CHINESE JAR. 


Incised scroll ornament under green glaze. With 
four small handles. 


433—Mine Bort te. 
Shape of fruit. Crackled glaze clair-de-lune. 


434—MIncG VASE. 
Oviform, with ivory-white glaze. 


435—BLUE AND WHITE Jar. 


With figures of ladies and children. Carved teak- 
wood cover. K’ang-hsi. en 


436—CHINESE INCENSE BURNER. 
Emerald-green glaze, over openwork white clay. 


437—VASE. 
Cylinder shape; pale gold glaze. 


iL JAR). . | 
-olive color; teakwood stand. 


ep turquoise, with carved stand. 
—SMALL BowL. | 
With translucent grain-of-rice pattern, decorated 
¢ sh with underglaze blue Chinese character and five 
_ bats. Turquoise blue glaze covers all the white 
ground. With stand. Seal mark. 


ey ___-Sang-de-beeuf color, with carved stand. 


- -442—Bor rte. 


Deep yellow, with brown splashes. 


ii 


—- 443—VASE. ; 
a Olive-green color, with teakwood stand. 
—-444——Borrte. — 
g : Russet-olive color. 


445—Two Saucers. 
Imperial yellow. 


446—Two SAUCERS, 
Imperial yellow. Smaller than preceding number. 


447—SMALL VASE. | 
Turquoise blue, with carved stand. 


448—Two SMALL PLATES. 


One, cucumber green; the other, peach-blow 
crackle. 4 : 


Sunt Dish. 


Blue celadon crackle on the outsids turquoise: 
inside, with faint decoration of fan and cloud: 
the glaze. With carved teakwood stand. 


450—SMALL Cup. 


White porcelain. With outer shell of onda 
perforated fish and shell decoration. With ivory 
cover. =o 


451—PLATE. 
Apple-green color. Fine crackle. 


452—PLate. ov 
Two shades of blue. . 


453—Two Deep PLates. 


White porcelain. With openwork bases, decorated. 
with a band of persimmon and leaves in translucent _ 
enamel glaze. 


454—Two SMALL DIsHEs. 
Irregular shape. Turquoise-blue color. 


455—Bort te. 
Turquoise, with carved stand. 


456—Cup. 


Sang-de-boeuf, carved stand. 


457—Two Smati Cups. 


Blue and white porcelain, decorated with flowers 
and fruit. 


458—SMALL VASE. 
Mustard vellow. On teakwood stand. 


; _ ; 


> 
Pe) 
TLre 
aia 


| 460—Suats VASE. 


oe er Gold a On teakwood stand. 


Te ay 


Pk wee SS ie: 


, -464—Two SMALL Cups. 


463—SMALL Jar. 


3 _ Four-sided, white porcelain, with character and 
- bats in shallow relief. 


x 462—SMALL VASE. 


_ Mustard-yellow. On teakwood stand. 


ij 
7 


| 


] 
| 


_ Dark olive. 


oe, 


Pure white porcelain; decorated on the inside with 
thread-like lines representing buds and flowers. 


465—SNUFF-BOTTLE. 
Apple green, with red crystal stopper and silver 
spoon. 


466—SMALL PLATE. 


Porcelain. Decorated with conventional flowers 
and foliage, in color on a black ground. 


467—SMALL PLATE. 
Porcelain. Decorated with translucent enamel 
glazes, in rose, green, blue and white on ew, and > 
rose ground. 


Waves. 


469—CREAM-WHITE BowL. 
Lions’ heads at sides. 


470—SNUFF-BOTTLE. ae 
Deep apple green, flat-shape, with jewelled ateae “4 
stopper. 


47I—SMALL VASE. 
Coral red. On teakwood stand. 


472—SNUFF-BOTTLE. 
Sang-de-beeuf. 


473—PLATE. 
Sage green. On finely carved stand. 


474—SMALL VASE, 
Robins’-egg blue. Carved stand. 


475—Deer Disu. 


White porcelain. Decorated with four-clawed 
dragons, in peach-blow color. Bats and waves on 
the outside. et 


476—SNUFF-BOTTLE. 
Yellow olive. Teakwood stand. 


477—Cor. 
Fawn color, with fine crackle. 


47 78—Brusi -STAND. 
= a" with raised decoration of dragons and 


Q 


Dats, celadon, with gradual change of color from 
green on the inside to a yellow olive on the outside. 
Incised decoration under the glaze. Korean. 


-480—Brusu- REST. 


White porcelain, Sath erated seep of butter- 
flies and peonies. 


4 
: 
] 


— 48I—SMALL JARDINIERE. 


Brown clay. Representing a section of the trunk 
Ve ea can Tree; ae inscription. 


eee wo SHALLOW CUPS. | 
ee of green, and the other of brown celadon. 
483—PLaTE. - | | 
Celadon, with concentric rows of lotus petals. 


484—SMALL PLatEe. 


Thinnest egg-shell porcelain, with decoration of 
roof tile and fern shoots in enamel color. 


485—DIsu. 
Porcelain celadon. Shape of persimmon. 


486—SMALL Box. 


Leaf-shaped, covered with a deep- green glaze. 
With carved teakwood stand. ) 


487—Two SMALL aye: “oy 


Hexagonal. Hawthorn blossoms on emerald-green | 
ground. Chinese. a | 2! AD a 


488—CHINESE PAINTING. sity e 


A thin marble slab, with a family scene oe in a 
rich harmonious colors. On the back, mountains — 
in several shades of blue. 


489—SMALL GROUP. 


Pale amber cornelian, carved to represent a Chae 
sage, with fungus and a monkey. 


490—AMETHYST PENDANT. 


Chinese. Carved cluster of peach, aineean foliage, 
and bat. With silk cord and embroidered charm. 


49I—SMALL Box. 


Ivory. Decorated with chrysanthemums a pine- 
needles. Hideyoshi crest in gold on cover. On a 
tray on the inside are two smaller boxes. 


492—RECTANGULAR Box. 


Ivory. Decorated with chrysanthemums and other 
flowers in gold and red lacquer. 


493—JADE PLAQUE. 


Carved with plum blossoms and inscription. Set in 
frame of gilded bronze. The back richly orna- 
mented. Chinese. 


494—SMALL JADE BOTTLE. 


Sage green, carved with dragon and lions’ heads. 


495—Two PIEcEs. 


Red cornelian lotus leaf and blossom; and smaller, 
lotus leaf of dark-green jade. 


es ony STATUETTE. 


Chinese boy kneeling. Traces of polychromatic 
decoration. Teakwood stand, inlaid with silver 
ornament. 


— 497—AGATE CuP. 
Oval shape. Of deep-red agate. 


498—CaRVED AGATE. 
Group of fungi. On wood base. 


-499—SMALL KNIFE. 
Silver handle. Used for shaving the eyebrows. 


500—Kopzuka. 
Silver and shakudo. Imitating a sword handle. 


501—Kopzuka. 


Shakudo, with gold and silver incrustation. De- 
sign of water, a woodpecker, etc. 


502—KopzuKa. 


Shakudo, with incrustation of gold and silver. 
Dewdrops on wild flowers in moonlight. 


503—KopzuKa. 


Silver, with plum blossoms incrusted in gold and 
shakudo. 


504—KopzuKA. 


Silver. Cock, hen and chick in yellow and green 
gold. ; 


505—KopzuKa. 


Gilded bronze, with silver cloisonné design of grace- 
ful ornament. 


mr Eas eee 


506—Kopzuka. 


Iron. A pruning ea with beatae fa 
blossoms in enamel on gold ground. By Hi 


—507—KopzuKa. : : 
Shakudo, with mcrase Hare of gold san ser, 
representing Yoshitsune offering his bow to the | 
genii of the Ocean. By Goto Teiyau. 


508—KopzuKA. 


Shakudo, with pouch and inro in gold, red >ronze, “a 
coral and malachite. By Yoshiteru. 


509—KopzuKa. 


Gray bronze, incrusted with gold, with names of 
Gama and frog in low relief. By Jest “ts Ae 


5 10—KopzuKa. 


Iron, with figure of a lady in rich brocades in gold, 
silver and shakudo. By Nagatsune. 


511—KopzuKa. 


Silver, with two flying cranes ‘in high relief. By 
Hidekuni. | 


512—KopzuKa. 
On the front a brook running through sand and 
field flowers. Copper, gold and silver. On back, 
rice stalks in moonlight. Shakudo and gold. By 
Fujiwara Masario. 


513—Kopzuka. 
Shibuichi. Inlaid with flowers of chrysanthemums 
in gold and silver. eee Goto Kobun. . 


: 514—Kopzuka. | 
Shakudo, with figure of Senin with broom. In- 
laid with gold. By Cho-usai Motochika. 


515—Kopzuka. . 
Front of gold, silver and shakudo. Representing 
the moon, waves and pine tops. By Goto Denjo. 


516—KopzuKa. 
Front, of shibuichi, with figures of two Samurai 
and a monkey, in gold, silver and shakudo. By 
Hosono Sozayemon. The back, a narrow bridge 
near rocky shore. By Masamori. 


517—KopzuKaA. 
Dark-blue shakudo; with Mount t Fujii in silver. By 
- Kanasugi Tomotsune. 


518—KopzukKa. 
Shakudo, with Buddhistic pearls of colored enamels 
of wonderful quality. By Hirata Motonari, and a 
silver fox, by Hirata Harumoto. Back, of silver; 
rain effect. 


519—KopzuKa. 
Silver, with insects of shakudo and gold. By 
Ichiosai Yoshiyuki. 


520—KopDzUKA. 
Yellow bronze. Pine tree and needles in winter 
by moonlight. Incrustations of gold and silver. By 
Adsizumi. 


aca, ) is 
Silver, with es By Kongosai Getsuzan. 


522—KopzuKa. : 
Silver, with gold incrustation of millet-st 
Itsusai Tome. | 


523—THREE SWORD-GUARDS. 
One of iron, with landscape in low relief ; one 
formed by two monte and one representing a8 
horse. 7: 


524—THREE SWORD-GUARDS. } 
Iron, with gold and silver incrustations of he 
Hideyoshi crest. One with stalks and flowers of — 
iris, one of shakudo, encircled by wreath of gold 
leaves. 


525—THREE SWORD-GUARDS. 


Chased and perforated iron, formed by conven- 
tionalized foliage and fruit. | 


526—THREE SWORD-GUARDS. "s, 
Wrought and perforated iron. One formed by a 
large radish and two rats; one having two vases 
and inscription, and one with conventionalized 
foliage. 7 


527—T wo Sworpb-Guarbs. 
Iron, with incrustation of yellow binnee represent- 
ing peonies. The other formed by a leafina circle. 
Both outlined with brass. Yoshiro incrustation. 


528—Two Sworpb-Guarps. 


Iron. Damascened with gold, representing a héwé 
bird. The other, conventional chrysanthemums in 
wrought iron. 


=e 


4 
4 ay 
os 


' 
iow > Fe S 
: > 
. ra 
»' 7 


-Two ‘SwoRD-GUARDS. 
H nas ; 
ie. oth. of iron, with incrustations of conventional 


_ ornaments, in gold, silver and yellow bronze. 


Be tii SworD-GUARDS. 


Iron. Damascened in gold, silver and red bronze. 


Openwork design of herd of wild horses. The 
other, a Namban style guard, with fan- shaped panel 


and. two Dutch figures. 


83 I—Two Sworb-Guarbs. 


One of iron, damascened in silver and rellow 
bronze, with a geometric pattern. The other, en- 
tirely covered with a diaper of small pine branches, 
in gold damascened on iron. 


532—Two Sworb-Guarps. 


One, of wrought iron, formed by a coiled dragon. 


The other, of iron damascened in gold, formed by 
a dragon holding sacred ball. 


-§33—Two SWORD-GUARDS. 


“One, of wrought iron, with relief-chasing of 
dragons, clouds and water. The other, of raised: 


silver damascening in scroll work, on a body of 
shakudo. 


534—Two Sworb-Guarbs. 


Iron, incrusted with silver and gold. One, with 
conventional rendering of clouds and water. The 
other, with leaves of pawlonia. 


535—l wo Sworb-GuArRDs. 


One, of iron, chased and perforated; dragons and 
scrolls, Namban style. The other, of iron, chased 
and perforated; monkeys and their young, forming 
a pyramid. 

II 


sept aaa Sie, Gia chivas ee ees ay hie aa a 
Iron, chased, damascened. in poldeg 
Subject, dragons and scroll ornamet 
style. : 


537—Two SWORD-GUARDS. 


Iron, chased and_ perforated, with “dragons an 
scroll work. Namban style. | i TES 


5 38—SWORD-GUARD. | | ete 


~ 


Shibuichi, with wave-crests and drops BE water i in 
gold and silver. By Omori Yeisho. 3 fangs 


539—SWORD-GUARD. 


Small size. Iron, with inertia ofa ede anda 
flowering branch in gold and shakudo. 


540—S WORD-GUARD. 


Shibuichi, with incrustation of a dragon and jewel 
in gold and silver. 


- 541 —SWORD-GUARD. 


Iron, with incrustation of gold, silver and copper, _ 
representing a stork flying over a small stream. 


542—SWORD-GUARD. 


Iron. Openwork design of iris. 


543—SWORD-GUARD. 


Iron. Perforated and damascened in silver, mie 
design of a chain formed by round and square links. 
Sixteenth century. 


544—SWORD-GUARD. 


Four-lobed, of iron, with incrusted medallions of 
dragons in silver. By Imachika. 


Ir x persimmon delicately prorated in low 
i relief, surrounded by a circle. 


”: 


A6— ‘Sworp-cGuaRo. 
Tron, with pine branch in high relief and rising- 
moon in silver inlay. 


a Beers reel -GUARD. 


_ Tron. Openwork design of pine-cone, acorns and 
-———s- various leaves.’ Gold damascened. 


ee 


“0e 548—SWworRD-GUARD. 
Be Iron, with yellow bronze dragons encircling the 
4 edge. Fuchimi incrustation. 


349—Sworp- “GUARD. | 


Tron, with yellow-bronze ipasoie in high relief. 
Fushimi incrustation. 


5 50—SWORD-GUARD. 
Tron. Incrusted with a silver dragon-fly. 


55I1—SWORD-GUARD. 


Iron. Damascened with a gold dragon on one side. 
On the other, religious emblems in gold on a silver 
ground. 


552—SWORD-GUARD. | 


Iron, with silver and gold incrustation. Decorated 
with an eagle on pine branch, modelled in high 
relief. 


353—-SWORD-GUARD. 


Iron, with incrustations of green mother-of-pearl, 
representing a dragon-fly and two bees. 


7 


oul = RC Typ AL Pe 
r , c 
si i i s m! Fe 
i x 
: i . 


s Dis ee 
Heavy iron. 


The edge aiid ait heraldic emblems ee 
silver. | 


555—SWORD-GUARD. 
Iron, with raised gold inscription. 


5 56—S worD- -GUARD. 


Iron. Damascened in gold, representing Fuji, 
, clouds and dragon. By Konsai Bikio. Mh or ae 


—557—SWORD-GUARD. 


Iron, with tempered inscription. By Kunitama 
Sadaoki. BRS: as 


558—SworbD-GUARD. 
Iron. Conventional design. By Omi Tashimao. 


559—SWORD-GUARD. 


Iron. Openwork design of ee Hoscoate Gon a 
damascened. By Tsunemasa. 


560—SWworRD-GUARD. 
Iron. Openwork design, representing two Chinese 
sages and ox under pine tree. Gold damascened. 
By Tomogaki. 7 


56I—SworbD-GUARD. 


job) 


Sentoku. Damascened oiith gold, representing 
small temple bell. By Yassutaka. 


- Openwork fee of pine = cones’ and plum 
ms. Gold damascened. By Masamitsu of 


—Sworp-c GUARD. 
Iron. Openwork design of narcissus and plum 
| blossoms, damascened in gold. By Kawaji. 


"564—Swonn- GUARD. 


Iron. Delicately modelled wave-crests, with drops 
of water in gold and silver. By Masayoshi of 
pe. 


me b 
E 
7 
" 
. 
2 


565—SWORD-GUARD. _ 


| Iron. Openwork design of flowers and foliage. 
-s By Masakate of Bushu. 


566—Sworp-Guarp. 
=! Iron. Openwork design of plum blossoms and 
waves. By Kogetsusai. 


567—SworD-GUARD. 
Iron. Damascened in gold. Kiri plant and scroll. 
By Kinai of Echisen. 


568—S worD-GUARD. 


Iron. Openwork design of kiri flowers and leaves. 
By Katsuyoshi Shoami. 


569—S WORD-GUARD. 


Iron. Openwork design of pine needles. Gold 
damascened. By Katsuyoshi Shoami. 


% co ie es 
7 i 5 la eer 


od 570—SWoRD-GUARD. eae Se 
: Tron. Openwork cen OL chrys 
et ake ae and flowers. By Kinai of Echizen. 


571—SWorb- GUARD. 


Iron. Openwork design of wild orchid 
of Echizen. 


270 eee ee 


573—SWORD-GUARD. 


Iron. Openwork design of Chinese sages. cae 
boo grove. Damascened in gold. By the Fir t 
Soden. ae 


ie ‘THE AMERICAN ART GALLERIES 


_ a BEGINNING AT 2.30 O'CLOCK : ; 
eo sane PIECES. 


a 


Iron sword-end with silver insect, temple bell with 
microscopic locust and lion Fo. 


575—SWORD-END. 


_--—_. Relief decoration of flowers, foliage, etc., in silver, 
hes ‘gold and shakudo on iron ant By oe Mit- 
sumasa. 


Be ax 


Chased silver ceremonial tasecl. 


577—Bow-HOLpER. 
Gilded silver with chased howé birds. 


578—CrYsTAL BALL. 
On chased and gilded bronze stand. 


579—TIwo N ETSUKES. 


Wood carvings. Lion Fo playing with ball, and 
crouching figure of a Chinese. 


Saaer car 
mother-of-pearl and 
woman washing. 


581—NETSUKE. 
No-mask in ivory. By Ran-sen. 


582—NETSUKE. 


Mask of Hania, in igen gold and dpstadoae Of s 
extraordinary skill in relief chasing. By Se-zui. Se - 


Be Re NETCURE Se oe 
Button shape of perforated and damascened irgn | 
4 with ornaments of the style of Namban. 


584—NETSUKE. 


Ivory, damascened and pero iron, represent- 
ing a temple bell. 


585—NETSUKE. 


Ivory button, with plate of cloisonné enamel, orna- 
ment on sage-green ground. 


a 


586—NETSUKE. ; 
Iron button entirely covered by vy dares patterns of 
inlaid yellow bronze. : 


587—NETSUKE, 


Hartshorn button, with damascened and perforated 
plaque of dragon on trellis. 


588—NETSUKE. 
Flat ivory button, with damascened head of dragon. 


5890—NETSUKE. : 
Silver button, chased to represent a bird among 
cherry blossoms. 


5900—NETSUKE. 
Ivory button. Shibuichi plate with gold and silver 
incrustation of waves, the sun and birds. 


591—NETSUKE. 


Ivory; button-shaped, with perforated carving of 
six mon on back. Front plate of shakudo and gold 
with Hideyoshi crest and thunder drums. 


592— NETSUKE. | 
Button shape. Red bronze and shakudo basket 
work. 


593—NETSUKE. 
Button shape; silver and shakudo basket work. 


594—NETSUKE. 
Ivory button, carved to represent a dragon among 
clouds. 


| 505—NETSUKE. 
Flat button of ‘cloisonné enamel in colors on tur- 
quoise-blue ground. 


596—NETSUKE. 
Ivory mask and bells. By Haku-unsai. 


5907—NETSUKE. 


Wood. Crouching figure of a monkey eating ber- 
ries. By Tomo cazu. 


: 598—NETSUKE. 


Dark wood, representing a Re ei foliage, 
opening with hinge disclosing a carved stone of 
ivory. Subject: a Chinese princess with attendants 
in a garden. 


599 NETSUKE, 


Dark wood. Actor with No mee hole bowl. 
By Masayuki. 


600—NETSUKE. 
Mask of Okame by Shu getsu. 


60I—NETSUKE. 


Rich brown wood. The Senin Gama and his frog. 
Wonderful expression. 


602—NETSUKE. 


Dark wood., Choki, the devil-chaser, sharpening 
his sword on a stone. By Masa Kazu. 


603— NETSUKE. 


Amber-colored wood. Crouching figure of a gen- 
tleman telling a funny story. The face, evidently 
a portrait, is wonderfully life-like, the slightest mo- 
tion causes the pivoted head to give quick jerks, 
thereby adding to the illusion. By Masa nao. 


604—SWORD-RING AND ENp. 


Yellow bronze, with raised poppies in gold and 
shakudo. By Yassutchika. 


605—SWORD-RING AND END. 


Iron. incrusted with gold, silver, shakudo and red 
bronze. Temple bell, dragon, Daikoku and Oni. 
By Utsi and Naokuni. 


606—SWORD-RING AND END. 


Shibuichi, silver and shakudo. Carp ascending a 
stream. By Yeishu. 


607—PoucH Crasp. 


Round. Silver repoussé, subject dragon among 
clouds. 


608—PoucH CLASP. 


Silver, gold and shakudo, representing a warrior 
in full armor, attacked by a tiger. 


609—PoucH CLasp. 


Silver, gold and shakudo. Crane and its young in 
a nest among the pines. Beautiful clean-cut chas- 
ing in high relief. 


610—Poucu, CLASP. 


Silver and gold: Representing Juro seated on a 
swimming turtle of longevity. 


611—PoucuH CLASP. 


Silver, gold and red bronze, representing Choki on 
a lion brandishing a’sword. Wonderful detail. 


~ 612—Poucu Case. 
Silver, gold and shakudo. Yebisu and children. * 


613—PoucH ORNAMENT. 


Silver and shakudo. Powerfully chased in high 
relief, representing a hero crossing a ford. By 
Kiku Kawa. 


. 614—PoucwH -CLasp. 


Gold and shakudo, representing a Koban of Hide- 
yoshi. By Yoshiyuki. 


615—NETSUKE. | ar ee 2am 


Ain Secure 


Ivory button with chased andl perforem top plate 
of silver and gold, representing peonies and foliage. 
By Hoghen Min rio. 


Dark amber-colored hartshorn, with front plate of ot 4 


shibuichi. On it a crouching boy with a fan is — 
incised and inlaid with gold, silver and shakudo. 
By Ta Kao. 


617—-NETSUKE. 


Ivory button entirely covered with flowers and 
leaves of the chrysanthemum. On _ the front a 
repoussé silver mon. By Sho un sai. 


618—NETSUKE. 


A group of three young fruits of the egg-plant, 
two of which have openings at the side, through 
the larger one of one and one-quarter inches in . 
length. The inside of the fruit is carved to repre- 
sent a landscape on Lake Omi, with Mount Fuji 
in the distance, sails on the lake, several mountain 
ranges, forests, small houses, and in ‘the fore- 
ground a man rowing a boat. Through the other 
opening of only one-eighth of an inch, a falcon, 
seated on a frame, may be seen detached from the 
surrounding matter. The tour de force appears in 
its full magnitude when it is realized that all of 
it was carved with curved microscopic tools 
through the very restricted openings. By Kan sai. 


619—NETSUKE. 


Shibuichi button, front plate finely modelled in 
iron, silver and gold, representing a dragon’s head 
and claws. 


620—NETSUKE. | 


Ivory button, with silver plaque. Subject: three 
crows on a branch, inlaid in shakudo. After Korin. 


621— NETSUKE. 


Ivory button, with shibuichi plate incrusted with 
gold. Subject: old woman and traveller. 


622—NETSUKE. 


Ivory button, with front plate of shibuichi, inlaid 
with gold and silver, representing a Sennin with a 
mouse and small boy. By Hideusi. 


623—I nro. 

Outer case of shibuichi, with incised design after 
Itcho and So min. Inner case of black lacquer en- 
riched with a blossom and leaf of volubilis in gold 
lacquer and green mother-of-pearl. Inscription in 
solid gold, “one month, a thousand years.” By 
Suyenaga. Netsuke of wood, inlaid with bird on 

-. magnolia branch in mother-of-pearl, tortoise-shell, 
coral and malachite. By Yeizan. 


624—-INRO. 


Gold lacquer. Four compartments; topographical 

view of Lake Omi with names of localities. With 
_ netsuke representing a dragon made of part of the 

ivory-like bill of the Bill-bird. By Koriusai. 


625—LacQueER TUBE. 


Part of a flute. Decorated with a dragon in vari- 
ous colored gold lacquers. School of Ritsuo. 


626—Two PIECEs. 


Parts of silver netsuke in repoussé silver. Lion Fo 
and peonies. | 


a ee ee eS 


627—NETSUKE. : 
Ivory carving. Philosopher and ox. 


628—Inro. Rie sl 
Outer case of gold lacquer bamboo decoration on 
black ground. On inner case a cock and a hen, 
gold on powdered black ground. By Furumitsu 
Tei ge. With gold lacquer netsuke representing a 
mask. 


629—INRo. 


Gold lacquer. Four compartments. Subject: 
horses under pine trees. An exquisite piece. By 
Bunriosai. With ivory netsuke of philosopher and 
Ox. 


630—INRO. 


Gold lacquer, incrusted with figures of poets in 
amber, tortoise-shell and ivory. Four compart- 
ments. A very old piece. With old netsuke repre- 
senting a mask. 


631—LACQUER TRAY. 


Decorated with pheasants near the water’s edge. 
Centre of gold lacquer, border of conventional 
chrysanthemums on black ground. Excellent eigh- 
teenth-century piece. | 


632—LAcQUER TRAY. 


Narrow rectangular shape, decorated with wild 
flowers and butterflies in gold on deep gold pow- 
dered ground. | 


633—RECTANGULAR TRAY. 


Rounded corners; decorated with a brook and wild 
flowers in several shades of gold on black ground. 
Fine quality. Eighteenth century. 


634—LaAcQuER TRAY. 


Square, with rounded corners. Decorated in gold 
lacquer, with a traveller on horseback arriving at a 
waterfall, watching the flight of geese. 


635—SMALL TRaAy. 


Rectangular etched bronze plate, set in lacquered 
frame. The bronze is incrusted with various metals, 
and represents two men, a woman and child cross- 
ing a stream in a ferry-boat. The coloring in these 
metals is remarkable. 


636—Two PIEcEs. 


Perforated and richly carved teakwood box and 
cover, with carved stand. 


637—Two Lacquer TRAys. 


Decorated in gold on black ground. With the 
owner's crest. 


638—DovusLe STAND. 


Gold and black lacquer, with young plum and pine 
trees. Fine quality. 


639—SMALL WRITING CASE. 


Black lacquer. On the cover, circular medallion of 
branch of japonica, with red and silver blossoms. 
With stone and two water holders. 


640—WRITING CASE. 
On the front, two mandarin ducks near a pond, in 
gold, silver and red lacquer on a black background. 
A perfect specimen of eighteenth century work. 


and leaves in gonhbe -on black. “Silver | 
and plates. | i 


642—Two SMALL RECTANGULAR Tee : 
Each having two crests on powdered gold groun . 


643—SMALL RECTANGULAR TRAY. 
With two flower medallions, in gold and red lac- 
quer on dark ground. 


644—SQUARE LACQUERED TRAY. y 
Gold lacquer of the finest quality. Decorated with 
cherry and willow trees, with part of the blossoms 
inlaid with small sheets of solid gold. 


645—SQUARE LACQUERED TRAY. | 
Decorated with a group of palms near a projecting 
rock, in gold on a black surface. The painting is 
wonderfully delicate and the gold of rich tone. 


646—LIBATION Cup. 


Carved out of palm wood, representing a lion and 
its young. Lined with silvered metal. On stand, 
edged with carved green ivory. Chinese. 


647—SHRINE. 
Containing three idols.. The central figure of Sa- 
kiamuni shows great refinement of line and move- 
ment. The whole of the interior was originally 
lacquered with gold, but the fumes of incense have 
colored it a dark rich brown. 


48S 
Rectangular shape. The doors divided into small 
panels of floral, conventional and geometric design. 
All carving treated in color and gold lacquer. The 
ceiling is decorated with a painting of a dragon on 
gold ground by Itcho. Seventeenth century. 


eae? PIECES. 
Flower holder ; made from a piece of aiet with its 
natural surface, decorated with a locust and ferns 
in gold and silver lacquer. A pipe case; carved 
from a rich dark wood, representing lotus leaves 
and buds. 


650—SMALL LACQUER STAND. 


Imitation in lacquer of a very dark close-grained 
wood, with gold ornamentation. 


651—Rounpb LacqgueER Box. 
Two compartments. Decorated in gold lacquer of 
-. various kinds and colors, representing rice fields 
irrigated by intersecting canals, on a ground of 
black. Very rich and refined in character. 


652—HEXAGONAL LACQUER Box. 
Two compartments. Decorated in gold on black, 
plum trees among young shoots of pine and bamboo. 
Of the finest quality. 


653—Rounp Lacquer PowbDeErR Box. 


Various leaves in gold and red on a black ground. 
Inside of gilded metal. 


654—-CYLINDRICAL LACQUER Box. 
Entirely covered with a minute fret pattern, the 
interstices of which are powdered with small par- 


ticles of green and pink mother-of-pearl. 
II . 


shades of ses ona shes ground. 


6 ceeeacae Woop Box. 


A rare dark colored wood, decorated at sides wit h | 
a delicate tracery design in gold lacquer. An eet 
ample of rare perfection. : 4 


657—INcCENSE BURNER. a 
Dark wood, decorated with conventional chrys-_ ae 
anthemum branches. Openwork silver topo eae 


658—SMALL PocKET SHRINE. 


Red lacquer, with silver mounts and hinges of arose 
delightful design. All details reduced in scale to 
fit this dainty receptacle of the daintiest of all idols, 
seated on crouching Lion Fo. The group is carved 
out of dark wood, relieved with a few touches of 
gold and color. 


659—LACQUER MEDALLION. 


Portrait of Philippicus, Patriarch of Constantinople, 
from an European painting. Latin inscription on 
back. 


660—SAKE Cup. 


Gold and silver lacquer on red ground, representing 
the moon behind a plum tree. By Hiragawasai 
Sadashige. 


~~ 


661—WrRITING Box. 


Decorated with a basket containing chrysanthe- 
mums. Heavy incrustation of carved mother-of- 
pearl and tinted ivory. 


* 


662—Two PIEcEs. 
Gold lacquer sake ad and small open box of silver 
lacquer. 


663—Smatt Lacquer Box. 
Shape of a dog. An interesting specimen. 


664—SMALL Rounp Box. 


Of dark, closely-grained wood. The cover inlaid 
with flowers of mother-of-pearl, ivory and coral. 


665—SMALL LAcguER Box. 


Silver lined. Decorated with young pine shoots on 
deep gold ground. 


666—SmatL Hexaconat Box. 


The entire surface is covered with a mosaic of 
green, blue and red mother-of-pearl of an indes- 
cribable wealth of color. On the cover a howo 
bird. The sides have six different patterns of sur- 
face ornamentation. In perfect state. 


667—SMALL LAcQuER Box. 


Decorated with a deer and foliage, in pale and 
green gold. 


668—SMALL LACQUER Box. 


On the lid, the apprehension of the oil-thief, in the 
richest textures of gold lacquer. 


‘6690—SMALL Box. 


- Decorated with mask of Hania, in gold Hea black 
on a rich gold ground. 


‘670—SMALL RECTANGULAR Box. 


Gold lacquer, representing a piece of brocade, tied 
with silk cord. 


gold howo birds on BO, cover. Under 
decorated with bamboo and paulonia. = 


673—SMALL ae 


With foliated border on ee black Sa 


In the centre, two children and fowl in bamboo — 
Bro A very old piece. | ee’ 


674—Two Harr Onna ae 


Ivory, decorated with white carnations and butter- q 


fly. The other, with emblems of good luck, in gold- 
tinted ivory, mother-of-pearl, malachite, coral and 
tortoise shell. In design and execution these ne 
objects are of the finest quality. 


675—Hair ORNAMENT. 


Ivory, decorated with flowers, petals, leaves, pine- 
needles and berries of gold lacquer, mother-of- 
pearl, tortoise-shell and coral. A specimen of we 
most costly jewellery of the time. 


676—-HaIR ORNAMENT. 


Ivory, decorated with butterflies, in pa accuce 
mother-of-pearl, etc. 


677—Hair ORNAMENT. 


Tortoise-shell, decorated at one end wih the gate ” 


of Yoshiwara; at the other, two sparrows in gold 
lacquer. 


7 4 678—Two SmMaLL Hair ORNAMENTS. 


One of ivory, with crest inlaid with mother-of-pearl. 
The other, of lacquer, covered with very delicate 
gold peacock feathers. 


—679—SMALL Hair ORNAMENT. 


Gold lacquer of the finest quality, decorated with 
plum blossoms and a hawk chasing a bird. 


 680—Two Hair ORNAMENTS. 


A long and a short one, both decorated in a similar 
manner, with designs taken from old brocades. 
Finest quality of gold lacquer. 


681—Hair ORNAMENT. 


Decorated with butterflies and small leaves of green 
mother-of-pearl and gold lacquer. 


682—Harir ORNAMENT. 


‘Decorated at each end with fans, flowers and foli- 
age in green mother-of-pearl and gold lacquer. 


683—Two HairPins. 


One of carved wood, representing a chrysanthe- 
mum; the other, with two leaves of lotus, in gold 
lacquer. 


684—SMALL BASKET. 


Very minute weaving of intricate workmanship. A 
_ fine example of this art. 


685—LacguErR Box. 
With cover. Black lacquer, decorated with blades 
of grass and dewdrops, in gold and silver. Finest 
quality. 


i) Ped 
oy 


-686—LAcQUER BowL. 


crusted green mah ee ee 
on a sandhill, on ground of natural wood. I 
cover. On graceful teak stand. | b Koy t 


687—SMALL STAND. 
Rectangular. Of green ivory. Chinese. 


688—Tosacco PoucH. | ss 
Made in Japan from an antique piece of velvet, — 
embroidered with cord made of silver wire, form- 
ing a solid surface of beautiful ornamentation. a 
With silver clasp. i 


689—Tosacco PoucH. 


Decorated with silver leaf pages a marvel of 
the leather-worker’s skill. With silver clasp, repre- 
senting a falcon. 


6g90—Lapy’s Comp. 


Gold lacquer. Plum blossoms incrusted in green 
mother-of-pearl and solid gold. 


691—Lapy’s Comp. 
Ivory, decorated with ferns and fireflies in gold. 


692—Lapy’s Comp. 
Gold lacquer, with raised chtysamih eee 


693—Lapy’s Comps. 
Gold lacquer. Cherry blossoms. 


694—Lapy’s Comp. 


Large size. Gold lacquer. Butterfly and scroll 
design on a black lacquer ground. 


— 699—Lapy’s Comps. 


ae of old. 
_Lapy's Boars, 


- Gold lacquer. Plum blossoms in white and tinted 
i ivory. 


—Lapy’s Com. 

Gold lacquer. Various flowers in different shades 
meted, ; 
| 

Ivory. Partly tinted a seh ou with storks flying 
over waves. 


t Aaa Comps. 


Carved and tinted ivory. Subject, héw6 bird among 
foliage. 


__ 701—Lapy’s Com. 


Large size. Gold lacquer. Iris. 


702—Laby’s CoMB. 
Small size. Gold lacquer. Fagots and small birds. 


703—Lapy’s Comp. 
Amber-colored tortoise-shell. Design of various 
utensils in the open. 
$ 


704—Lapy’s Comps. 
Green gold lacquer. Design of peonies. 


-705—Lapy’s CoB. 
Gold lacquer. 
flowers. 


706—Laby’s Com. | 
Gold lacquer. Chrysanthemums. 


707—Lapy’s COMB. 


Black buffalo horn. Decorated with chee Bio 
soms and maple leaves in gold. 


708—LapDy’s rare 


Ivory, partly tinted a fine - ea Subject, badger 
and rabbit out walking near the shore, te 


7og—Lapy’ s Cos. 


Ivory, tinted a fine red, with pranehee of hydrangea 
outlined with gold. 


Biosci ek CoB. 


Ivory, tinted a fine red, with oval panels containing 
peonies, birds, etc., outlined with gold. 


711—Lapy’s ComB. : irae 
Large size. Of transparent horn. With openwork 
design of cherry blossoms. . : 


LY 


712—Lapy’s Com. 


Gold lacquer, with cherry blossoms in several tones 
of gold. 


4 
713—Lapy’s Comps. | 
Gold lacquer, with two peacocks on plum tree. 


714—Lapy’s Comps, 
Gold lacquer. Cherry trees in bloom. 


_ 715—Lapy's Coma. 
Gold lacquer. Waves and mountains, with swarms 
of sparrows. 


716—Lapy’s ComB. 
Gold lacquer. Bird and plum tree in bloom. 


717—LapDy’s COMB. 


Gold lacquer. Mandarin ducks near the water’s 
medce, 


718—Lapy’s ComB. 


Gold lacquer. Camellia branches with birds of in- 
crusted coral. 


719—ITwo Lapy’s Comes. 


One of black, decorated with sparrows and bamboo 
in gold. The other, of silver lacquer, with pine 
needles and plum blossoms in gold. 


720—Pair oF Lapy’s Comss. 


Amber-colored horn. Decorated with views of 
temple grounds in fan-shaped panels. 


721—Two Lapy’s Comps. 


Gold lacquer. One, with bird and plum branches; 
the other, with bird and flowers. 


722—PairR OF Lapy’s ComBs. 


Gold lacquer. Decorated with birds and small in- 
crustations of coral. 


723—IvoRY CARVING. 


Part of Cingalese comb. The teeth and left panel 
are missing. In the centre panel, a Cingalese 
dancer, with conventional ornament. 


Mela ge AND LACQUERED Pater 


With figures of five Rakans, with alegoneat at 
butes. Enriched with inlaid mother-of-pearl, 
toise-shell, gold lacquer, etc. By Ritsue, ae 


726—STAND. 


Black lacquered wood, with open sides ead gilded 
bronze mounts. 


727—PANEL. 


Bronze vase, holding brushes and fungi: and brash® a 
case, shaped like a musical instrument. In various _ 
colored lacquers on a black ground. wae ors 
Zeshin, 


728—Ivory Box. 


Tall cylindrical shape, with Belg lacquer crests of a - : 
society of Cha-djin. 


729—CHINESE STAND. 
Rectangular. Richly carved. 


730—STAND, 
Carved teakwood. For mandarin’s hat. 


731—CARVED FIGURE. 3 


One of the companions of Bensaiten, standing on 
a turtle. Finely carved and delicately ornamented 
in gold. | 


i, 732—BELT BUCKLE. | | 
Gilt bronze. Chased and perforated. Fastened to 
_ belt of green silk cord. Chinese. 


733—CHINESE BELT BUCKLE. 


Detached dragons among clouds. Gilded bronze. 
Green silk belt. 


734—Two PIECES. 


Richly chased, and gilded girdle hook and cloisonné 
enamel belt slide. Heavily gilded Chinese. 


735—Tosacco PIPE. 


Iron damascened, with gold and silver. The bow! 
and mouthpiece of silver, ornamented with con- 
ventional flowers and foliage. 


730—SMALL Cup. 


_ Very thin cloisonné; outside covered with tracery 
design of white, yellow, red and turquoise-blue 
flowers on a dark green ground. Inside a cloud de- 
sign on white ground. Transparent wax-like qual- 
ity. On minutely carved teak stand. Early Ming. 


737—THREE STANDS. 
Used in tea ceremony; gilded bronze. 


738—Two STANDS. 
One of shakudo, gold, silver and enamel. One of 
silver. 


739—THREE PIECES. 


Chop sticks. Silver, with lacquer handles, enriched 
with gold and silver cherry blossoms. 


Soe re ot eee ee 


ey ae i‘ _ as 
x g at +. > 7 ee ae 


oe x ey i eter Hover. 
Silver and enamel. 
sunk plate. } 


741—WaterR Hotper. 


Chased silver ; shape of flat round 1 bot 
sunk plate. = , cee, 


742—WaATER HOLDER. 


Repoussé silver; minutely chased. 
running boar. 


743—PAPER Weicut. 
Silver fan and bells.. 


744—PatIR OF SMALL INCENSE BURNERS. 


Silver gilt. Two-handled and three-legged 
with conventional ornament. Chinese. 


Shae 745—SILVER SNUFF BOTTLE. 
Screw top; irregular hexagonal shape. 


746—Two FINGER PLATES. 
Se silver representing waves. 


747—-PIPE CASE. 
Silver basket work of remarkable workmanship. 


748—SMALL BOTTLE. 


Heavy silver, with chased flowers and foliage of 
chrysanthemums floating on water. 


7490-—SMALL TRAY. 


Silver lotus- leaf, with shakudo crab re gold lo- 
tus-pod. By Katsegassu. 


tips and 
fe on the top Yebisu 


yo ialakd with gold and ee ornament. On cover 
the Sennin Gama, with his frog worked in high re- 
lief in various metals. The inside lined with solid 
silver. By Sura. | 


763——SoLip SILVER INCENSE BURNER. 


Very graceful lines soberly ornamented with a band 
of conventional chrysanthemums. 


———- 754—SOLID SILVER TEAPOT. 
ees eh i Decorated with relief chasing of boatmen, ducks, 
~~ a tori, etc. Graceful shape. By Cho-o-sai. 


755—BRONZE BEAKER. 


ap Shaped like old temple drum. With several bands 
ae of archaic ornament. Solid silver cover, with 
repoussé design of top of temple bell. 


756—SMALL TEMPLE GONG. 


On its face a dragon and sphere; hanging from silk 
cord. Strong green patine. 


757—BRONZE TEMPLE BELL. 


Very ancient form, with inscription and six rows 
of raised knobs. Suspended from an elaborate 
chain with three flat ornamental rings and a cross- 
piece formed by two dragons. Dark green patine. 


3 738—-Parn o OF arate TA PS 


Se 


Formed by fois long ‘ag k 
- o> holder: Beautifully modeled Piec Sa 


eA aes SNES: GANDIGST ENS : 
proper. 


760—FLat Iron DIsH. 


With concentric circles of damascened sitieh orna- | 
ment. The one near the edge of undoubted Bac- 
trian origin, denoting great age. . 


761—Iron DISH. 


Hammered and damascened, with two mon and 
other circular ornaments; traces of gilding in the | 
centre. 


' 762—BRONZE TRAY. 


Rectangular, with indented rounding at corners 
with a beaded and riveted edge. Decorated with a 
trunk and flowering branch of plum tree and a 
carp ascending a waterfall. Fifteenth century. 


763—OCcTAGONAL BRONZE STAND. 
With gallery and movable tray. 


764—GREEN BRONZE JARDINIERE. 
Fine seal underneath; simple in outline. 


765—BRONZE J ARDINIERE. 


With fine square seal; has two handles; resting on 
three feet. ’ 


766— BRONZE CANDLESTICK. 
Yellow bronze openwork scroll ornaieata 


was 


yy ae Bey 


_ Warm gray ees Signed. 


Wye 1—BRONZE VASE, 


_Damascened in gold and silver. Design of early 
Chinese character. 


ee VESSEL. 
-A flat-rimmed urn covered with a thick layer of 


oxide. No decoration except a few horizontal rings 


near the top. Presumably before the twelfth cen- 
p2tUry. 


773—LArRGE PERSIAN BowL. 


Heavily coated with sheet silver on copper body. 
With chased ornamentations and inscriptions. 


774—BRONZE BowL. 


Handles formed by heads of archaic design. Be- 
fore the Kamakura period. Teak stand. 


© 


775—BRONZE VASE. 


Dragon in relief, with ring on back for suspension. 
Fine olive-green patine, with red variegations. 


Sa 


Sire asdl ey ree 


on ‘eer neat ne over waves. “Fine olin | 
patine. By Sosen Zan Soho, — ae 


7 Ter Rave Beowee Disu. 


ment. A very ain casting edie in chines . 
a lathe. Fifteenth century. 


Pa 


779—BRONZE DIsH. | 
Five lobed, with riveted edge. Beaten bronze of — 
the fifteenth century. With repoussé outlines of 
dragon and clouds. Resting on three cast feet. _ 


780—BRONZE VASE. 
Of very graceful outline. Ornamental band near 
the middle. Delicate line design in silver at base 
and top. 


ou LAST. AFTERNOON'S 


is ey we 


. FRIDAY, MARCH 13TH, 1908 


AT THE AMERICAN ART GALLERIES 


ab Ade hohder, shape of neice foot of Oni, and two 
ae carries one rectangular, the other hexagonal. 


iran mount, FE cconed 3 in gold and silver. Gilded 
bronze paperweight, representing a dragon; a hat- 
shaped iron netsuke, with gold crest, and a gilded 
and lacquered bronze bow-holder. 


_ -783—-BroNZE PAPERWEIGHT. | 
, Partly gilt. Leaf and pod of lotus. With frog 
sitting on stem. Chinese. Dated 1808. 


784—Two PIECES. 


; Bronze and silver pocket writing-case, and small. 
: bronze netsuke of lotus leaf and cricket. 
hoe 


ing a gourd, with leaves a vin 
bronze and silver. “a 


i e 786—OVAL ee 


Gilded bronze, representing a small melon. Lea 
of shakudo and bronze. . ote 


, Le ie ”) 


787—BELT ORNAMENT. 


Used in Tibet to carry tobacco-pouch er pipe. 
Brass, silver and coral. Leh 


Psa elt Box. 


Round iron box, dacietene a in cok and silver. ‘ 
The lid ornamented with a dragon, the letters signi- 
fying Good Luck underneath. 


789—Two PIECES. 


Chinese ruler of bronze, damascened with silver, 
and belt-buckle faced with sheet-silver, partly gilt. — 


790—SMALL CHINESE Box. Se 


Red bronze, with silver damascening of figures and 
inscription. Top, of shakudo and silver. 


79I—CLOISONNE Lotus LEAF. 
The ribs and edges of gold on a dark green ground. 


792—PAPERWEIGHT. 
Gilded bronze lion. 


os LOISONNE APPLIQUE. 


ot, Shaped like a shallow bowl. Conventional foliage 
in richest enamel colors. Heavily gilded. 


ns 


796—Suatt Iron Box. 


ae _ The top damascened in silver, with three dopant 
Inside lacquered. Fifteenth century. 

ae 

a -797—SMALL RECTANGULAR Box. : 

Bee Shibuichi, with flying birds in gold, silver and 

fee.) shakudo: 


=i 


798—S MALL RECTANGULAR Box. 


Gilded bronze. On the top, chrysanthemum and. 
other plants. 


799—BRONZE ALURTLE, 
Partly gilded. By Mi-ao. 


800—SMALL HINGED Box. 


Gilded bronze and shakudo, representing a per- 
simmon. 


801—PAPERWEIGHT. — 


A branch of plum tree of yellow bronze, with open- 
blossoms and buds of silver, gold and red bronze. 


er cee re Ic 
chieth bag of eaves an 


803—T wo paecne: 


. ‘Pocket flintlock and here ornamen 
by one of the Miochins. 


804—SMALL VASE. 


Yellow bronze. Inlaid with three bands of conven | 
tional flower ornament in silver. ; 


805—Two PIECcEs. 


Padlock, in form of shrimp of damascened iron, | 
and bronze seal of the Artist Kasen. : 


806—CLOISONNE PAPERWEIGHT. 


. Conventional scroll ornament in gold and siete on 
a fine turquoise-blue ground. _ Ming. 


807—SMALL Iron Box. 


Incrustation on lid of silver, gold and shakudo, a 4 
representing a heron fishing. By Hidetomo. oe 


808—BroNZE TUBE. 


Used for holding peacock feathers. Traces Of ly 
ancient gilding. Fine patine. : 4, 


809—Iron TEA Jar. 


The cover of silver and gold, with a button ek iron 
inlaid with the same metals. A crest inscribed in 
raised diamond-shaped frame on one side. 


SIO—SMALL VASE. 


Two handled. Bronze. Inlaid with silver orna- 
ment. Wood cover, with green jade top. 


resting on pees ‘ 


Api 


call 


Pn: Gipep Sratuerre. 
A female Indian divinity holding a sacred emblem. 


ie 14—SMALL Bronze VASE. ie 

: Surrounded by long feathery leaves. 

ee 81 '5—INKSTAND. £ 
a +» Dalpeyrat pottery, with damascened iron cover. 


- 


816—Two ig ase SEALS. 


-.One, of heavy bronze, with inscription; the other, 
with carved ivory handle. 


~817—Pair or Bronze CANDLESTICKS. 
Openwork design. Dark brown patine. 


_818—CANDLE-HOLDER. 
_ Damascened in gold and silver. 


819—BRONZE VASE. 
‘Bottle shaped, with delicate design of plum branches 
and conventional ornament in silver inlay. 


° 
820—BRONZE FLOWER VASE. 


Graceful outline. Plain surface, with two small 
lion’s heads. 


—821—Iron FL 
flowers. 


822—BRONZE Bow.. 


A very early specimen of archaic at | 
_ patine. Two small rings are attached to id 
butterflies. Bing collection. “aa 


823—BronzE TEMPLE VASE. 


Square shape, with panels of sunk ornament on 1 four 
sides. Flaring top. Fine olive-green patine. __ 


824—BroNnZE INCENSE BURNER. ' 4 


Representing fishes in a body of water, surmounted Ne 
by a tori, with inscription, Dark green patine. 
From the Bing collection. q } 


-825—BronzeE FLOWER VASE. 
Gracefully flaring shape, on carved wood stand, 


826—BRONZE VASE. | 
Green patine, inlaid with gold. 


827 BRONZE VASE. 


With two finely modelled bands of ee orna- 
ment and two loose rings at top. Bing collection. 


828—BRONZE VASE. 


Gold and shakudo at base, with incised border of 
palmette ornament. The upper part powdered with 
gold. From the Bing collection. 


829—OvaL Bronze Bow t. 
Upper part of a very ancient sacrificial vessel. 


-BRONZE JARDINIERE. 

_ Important work by the celebrated founder To-un, 
Consisting of a bowl, decorated with a dragon in 
high relief; cast “en cire perdue,” and a stand 
. formed by clouds. 


: 831—BRoNzE Nesters 
Under surface and sides covered with a raised 
diaper ornament, with dragon and centre-pieces 
cast, “en cire perdu.” By To-un. 


832—RECTANGULAR Bronze Basin. _ 
Resting on six small lions, the four sides decorated 
with a beautiful frieze of archaic ornament. A fine 
piece of casting of unusual size. 


833—SIXFOLD SCREEN. | 
With twelve scenes of filial piety. 


834—-SIXFOLD SCREEN. 
Decorated with flowers and foliage on gold ground. 
School of Korin. 


MING PAINTINGS. 


835—FRAMED PAINTING. 
Striking painting on paper of an elaborate scene in 
a Chinese garden palace. It was from such work 
that Kano Yeitoku derived his style in painting 
‘Chinese Imperial subjects upon the walls of Hide- 
yoshi’s palaces. Genuine Ming work of the fif- 
teenth century. 


835A—FRAMED PAINTING. : 
Very beautiful example of early Chinese painting 
of the Ming dynasty, probably by Kin Yei. 


Proceecas of Buddhis 
animals. 1 


836A—FRAMED PAINTING. 
Similar subject. 
MITSUNOBU. 


837—FRAMED PAINTING. 
Maple bushes near a mountain stream. 


SHIBA SCHOOL. Late Fifteenth Century. 


838—FRAMED PAINTING. i a 
Shaka and the Juroku Senjin. Typical altar-piece. 
Very rich in color. ee 


TCHO KUAN. Sixteenth Century. 


839—KAKEMONO. 


White eagle on a perch. One of a set of twelve 7 
originally painted for two sixfold screens. ‘a 


NI TCHO KUAN. Sixteenth Century. 


840—KAKEMONO, 
Falcon on his perch. Signed with seal. De Bun. 


SES SHIU. 1423—1506. 


841—FRAMED PAINTING. mr 
Small rough sketch of the devil-killer in mono- 
chrome. This is in the latest manner of Ses Shiu. 
About 1500. 


ae hae aor Pe... ii 


Pee Such pictures were put into houses to keep 
out evil spirits. Strong outlines and fine tones. 
_ Seshin School. eg 


SAN SETSU. 


‘ 


845—FRAMED PAINTING. 
Dharma. Very strong and striking: About 1650. 


- SCHOOL OF MATAHEI. 


en 846-—Pan. 
Tee a] a Bs lady combing her hair. 


847-—FRAMED PAINTING. 


ding po ccler. 


Tossa 


MEI KOSHI. 
 848—KAKEMONO. 
Heron. 
«KANO ~NAONOBU. 1606—1630. 


Bi cexcono. 
Duck. 


Chinese temple Kinzanji 1 near Tan-C 
Tanyu, court painter of the Tokuge 
Painted in his sixty-seventh year. Lat : 
century. 2 


85 1—FRAMED PAINTING. 


The thirty-six poets; painted on gold leaf. 
color. _ 


TSUNENOBU. 1635—1713. 


852—FRAMED PAINTING. 
Group of poets. 


853—KaKEMONO. 
Heron. 


854—FRAMED PAINTING, 
Herons near the water’s edge. 


855—FRAMED PAINTING. 
Cock, hen and chick. 


856 

857 

858 

859 TEN PAINTINGS. | 
860 | Chinese School. [Illustrations of various old 
861 { legends. Remarkable in color and execution. Will 
862 | be sold separately. 

863 

864 

865 


ee 
LS 7 


ee 


children, “watching ¢ a | puppet 


: Lad: Hetie. at see tree. Very fine example in 
_ his freest manner. About 1700. 


STYLE OF KIYONOBU. 


CHO SHUN. 


- 869—FRAMED PAINTING. 


Charming painting on silk of the tall figure of a 
ie young man in soft pearly tones. Early work of 
ae: Por artist. About 1705. 


" 870—FRAMED PAINTING. 


Boys parodying the play of the Korean lion. 
About 1720. | 


OKUMURA MASANOBU. 


871—FRAMED PAINTING. 

Very beautiful painting on silk of a Yedo belle 
dressed in rich brocades, seated on an elaborately 
embroidered rug. She is using a pocket-mirror, 
giving light finishing touches to her coiffure. Be- 
side her a writing outfit and paper are ready for 
use. On the opposite bank of a small stream are 
white and red chrysanthemums, others, slightly” 
larger, are painted in the foreground on the gold- 
powdered margin. About 1730. 


We fic ie t tim 
-872—FRAMED PM GiNe aa 
Very beautiful characteristic | pail 


Masanobu carried to ete freedom peal 


the new schemes of coloring of Cho Shun. The 


treatment of leaf and flower forms in the patterns 


of the embroidered dress are influenced by. the :, 


School of Korin and Kenzan, and not inferior 
them in execution. Paintings by O. Masanobu 
signed in full are very rare. Date, 1725. 


SOTATSU. First half of Seventeenth Century. 


°873—MounTED PAINTING. 


Flowering plants of early autumn. Very graceful, 
free and characteristic work by this master. About 
1670. 


KEN-ZAN. 1662—1743. 


-874—FRAMED PAINTING. 


Snow on pine tree and camellia bushes. Striking 


and beautiful example of this style of impression- 
istic painting which this artist put, on a smaller 
scale, on his well-known masterpieces of pottery: 
Early example. 


ITCHO. 1652—1724. 


875—KAKEMONO. 
Very fine rough sketch in ink of the Buddhist ; sage 
Dharma crossing the water on a reed. This is a 
very early work of Itcho in the style of his master, 
Kano Yasunobu. Date, late seventeenth century. 


or: 


a ukuroku Ju, ‘standing on a sheet of paper, a boy 
Ree low ooking on, astonished. Soft pearly coloring. 
Sie About| 1710. . 


OK O. Sida t 795: 
ae 880 —KaKemono. 


‘Flying duck. Resatitully modelled plumage. 


‘HOITSU. Prep eieos' 


At 881A—FRaMED PAINTING. 
.. Aquatic plants. 


ee KTITSU. 1795—1858. 
— - 882 KaAKEMONO. 
ie Chrysanthemums. 


* 


SUKENOBU. 1677—1751. 
883—FRAMED PAINTING. 
Charming painting on silk of a domestic group in 
the style of the famous books illustrating the occu-_ 
pations of women by this artist. Date about 1720. 


MINENOBU. 
88s FRAMED PAINTING. 
Pigeon on cherry branch. 


886—KAKEMONO. aye 
Three sleeping birds on the branch of a tree. 


UNKNOWN ARTIST. 


887—MouNTED PAINTING. 


The Supreme Buddha, Amida, surrounded by ise mes: 
attendant angel musicians, descending from heaven. __ 


888 KaKemono. 


Buddha and the Twelve Deva, in gold and colors, — a 
on silk. An old painting. 


889—KAKEMONO ALTAR PIECE. 

Buddhistic subject in circle on blue ground. 
890—K AKEMONO. 

Japanese Olympus. 


891—FRAMED PAINTING. 
Amida on lotus. 


892—Larce FRAMED PAINTING. 
Quintuple personification of Buddha. 


SHIGEMASA. 


—KAKEMONO. i 

Very beautiful painting of two ladies and a child 

gathering cherry blossoms in the spring. Signed 

i  Buyosai, but this name has usually been considered 

ak ‘ in Japan as another title for Shigemasa. About 
ite. ue 94. 


"897 —KaKemono. 


ces oe Very beautiful painting ee FRG ladies in travelling 
oe 2c “oostume, walking under maple trees in the autumn. 


Companion piece to the preceding number and 
fect signed similarly. 


UNKNOWN ARTIST. 


808—FraMED PAINTING. 
Temple guardians. 


— 899—KAKEMONO. 


Important altar piece. Six of the Twelve Deva. 
Seventeenth century. 


goo—FRAMED ALTAR PIECE. 


Triple personification of Buddha and temple ~ 
guardians, painted in gold, on silk. 


go2—KAKEMONO. 
Hen and chick. 


BUNKIN. 
Q03—FRAMED PAINTING. 
Plum tree. 
ZEISHI. 


QO4~-FRAMED PAINTING. - . > * 
Persimmons. . 
~OKASHUKI. 
go5—KAKEMONO. 
Cafp in a’stream. 
MOTOAKI. 
Qo6—K AKEMONO. 
Chinese with sword. 
TSUNESUKE 
907—KAKEMONO. 


Young couple playing football. 


RIN’ SHUN 


Q08—FRAMED PAINTING. 
Young lady resting. 


inl 


MED PAINTING. | 
_ Portrait of a Geisha. Rapid sketch on silk. 


TANSIN. 


| % g10—KakEMmono. 
is ie _____ Hagi flowers. Fine autumn scene. 
TSUNEMASA. 


a ee aarp PAINTING. 


( Very beautiful and elaborate painting on silk of a 

| group of court ladies looking at an exhibition of 
chrysanthemums. Tsunemasa was the ablest Ukio- 
ye painter in the middle of the eighteenth century, 
and was parallel with the early work of Harunobu, 
but is exclusively a painter and never designed 
prints. His technical. qualities are based on the 
style of Kano Tsunenobu. Date about 1750. 


YEISHI. End of eighteenth: beginning of nineteenth 
century. 


ee ED PAINTING. 


Beautiful painting on silk of a Yedo belle seated 
and reading by candle-light. This is the pictorial 
analogy of those prints in which Yeishi begins to 
design tall figures and large heads. Date, 1706. 


Q13—FRAMED PAINTING. 


Original painting on silk of a Yedo belle in the 
looser style of Yeishi. The painting of the fish 
embroidered in gold on the dress is a fine bit of 
execution. Date about 1810. 

II 


SHUNKO. 


Q14—KAKEMONO. 
Large painting on paper of a tall girl walking in 
the snow. A very late work by Shunko in the style 
of Utamaro. Date about 1807. 


HOKUSAIL. 1759—1849. 


QI5—IXAKEMONO. 
Very beautiful and finished painting on silk of a 
No-dancer in profile, coming down the bridge 
reaching from the green room to the stage. The 
box which he carries contains a mask for the No- 
dance. The signature, beautifully written, is Hia- 
kurin Sori, a name which Hokusai frequently used 
in the last years of the eighteenth century. Date, 


1708. 


g16—FRAMED PAINTING. 


Charming painting on a fan of a swallow, a spider 
and a spray of pinks. Characteristic signed work 
by Hokusai of about 1805. 


Q17—FRAMED PAINTING. 
Careful sketch of fowls. 


HOKUBA. First Half of the Nineteenth Century. 


g18—FRAMED PAINTING. 
Fine sketch painted on paper of a Yedo belle. The 
artist was the best early pupil of Hokusai. Date 
about 1810. 


Q19—FRAMED PAINTING. 
Strong painting on paper of two small girls. 
‘About 1812. 


among trees, leading to a temple. Very in- 
g treatment of different kinds of foliage. 


| -KIOSAI. 1831—1889. | + 
—Two Framep ParntINcs. 
a Turtles. 
af YEIKUNI. Z 


~ 923—Mountep ParntIN«. 
poe Landscape, with a long bridge. 


-; a | 924—F RAMED EMBROIDERY. 
. Fudo. By Tenkio. 


SPR ied -925—EMBROIDERED KAKEMONO. 


i ae Lady seated at a writing table under a plum tree. p 


926—CHINEsE | SILK AND BAMBOO SCREEN. 


Composed of thin sticks of split bamboo wound 
with silk thread forming an all-over design of 
scrolls, bat, peonies and shu characters. Several 
‘years were probably spent to complete such a work. 


—? ms 


927—Boox: History oF THE ART OF JAPAN. 


Published under the auspices of the Japanese Govy- 
ernment by the Imperial Commission of the Paris 
Exposition, in 1900. Folio, bound in white cloth 
and parchment. Not in the market. 


Reree Sar 


Ninety-six original: draanaee: by var 
among them Hokusai, Issai, She I 


eles: wae 

930—ALBUM. 
Contains 64 drawings by Kunisada, and aeane 150 
by a metal worker of great ability. eg ae me 


93I—ALBUM. . 
Contains 30 double-page drawings of flowers, bam- et 
boo, etc. 


932—ALBUM. 


Contains 48 pages of drawings of inlay-work fondo 
in ancient lacquers. ; 


ieee 


Contains 110 microscopic drawings of birds and 
flowers, by a metal worker. About 1860. 


934—ALBUM. 


Contains 180 drawings, by a metal worker. In 
spite of their diminutive size, the faces are wonder- 
ful in expression. About 1830. | 


935—ALBUM. 


Contains about 150 drawings and studies, by an 
artist of the eighteenth century. 


936—ALBUM. 


Contains about 90 Saginee by a metal worker, 
on Kodsuka and sword-mounts. 


——* 


Loews 


Bound i in silk brocade. Containing 346 drawings, 
x by” a metal worker of unusual merit. They are 
4 ‘mostly carefully drawn designs for pouch clasps, 
’ sword ornaments, pipe ornamentation, etc. Verit- 
able miniature masterpieces. - 


- 940—PENpaNr. 
Large cabochon-emerald, set in gold. 


— 


941—Penvanrr. 


Pear-shaped opal on a thin gold chain. 


- 


ee 942—RING. 


Irregular blue pearl. 


: 943—RING. 


Large whole pearl. 


944—RINc. 
Large opal. 


945—RInNc. 
Persian turquoise. Setting designed by E. Colonna. 


946— PENDANT. 


Orchid, made with baroque pearls, set in gold. 
Designed by E. Colonna. 


647-— PENDANT ae ee Dea he 
Orchid. Made with baroque p 26 
Designed by E. Colonna. _ 


948— PENDANT. 


Orchid. Made with baroque Re 
Designed by E. Colonna. 


949—PENDANT. 


Made with baroque pearls, set in, gol 
by E. Colonna. 


g50—PaiR OF BUCKLES. 
Silver gilt, with oval half pearls. The 
made of a pair in gold. Executed for cess” 
Tenicheff. Designed by Colonna. A) eee a 
iced i Sy eae ‘ 
951—GoLpD BareETTE. oe fet ‘is _ 7 ap é 
Solid gold menuki, representing a dragon, moun 
in gold. Eighteen karat. 


ns Li ote 
952—Broocu. oetae 55 i 
Solid gold menuki, set in gold. Ayiste ae ee 
953—Broocu. ee e . 
Solid gold menuki, set in gold. _ "i A RS A a 
954—RING. 


Fine gold. Indian setting, with peo 
cabochon ruby. 


955—RING. | oa 
Fine gold. Indian ring, with cabochon emerald. 


eres iridescent green pearl, “surrounded by 
diamonds, set in platinum and gold. Designed by 
: Colonna. : 


-—S 


so—PENDANT. 


oe half pearl of extra quality, set in platinum and 
gold, with three brilliants and fifty rose diamonds. 
With platinum chain., Designed by Colonna. .Y 


oF Pe Mcroice 
, ae _ —sCT*hirty-six star sapphires of various colors, set in 


eae gold; separated by rose diamonds, set in platinum. 
; A rare collection of delightful tints. 


eae te AMERICAN ART ASSOCIATION, 
MANAGERS. 


THOMAS E. KIRBY, 


AUCTIONEER. 


t 


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